Dream Design is a luxury kitchen, bathroom and interior design centre in Dorset, creating one-of-a-kind private residences across Dorset, Hampshire, Poole, the UK and internationally.

Founded in 1984, Dream Design has developed from a specialist design business into a complete residential design destination, combining a 5,000 sq ft Design Centre with an award-winning interior architecture and interior design studio.

The business specialises in bespoke kitchens, bathrooms, bedrooms, living spaces and complete home design, supporting private clients, architects and developers with a highly considered approach to residential design, specification and project delivery.

The Design Centre in Dorset brings together leading brands and specialist ateliers across kitchens, bathrooms, appliances, surfaces, lighting, furniture and interior architectural systems. Arranged across two floors, it allows clients to experience full-scale room settings, materials, finishes and design details in person, giving each project a clear and practical foundation from the beginning.

Design Studio

Dream Design’s interior architecture and design studio supports more complex residential projects, including new-build homes, refurbishments and complete interiors. The studio works closely with clients, architects and wider project teams to ensure spatial planning, material continuity, lighting, furniture and detailed specification are considered together.

At the heart of every project is a director-led, highly personal design process, with a fundamental belief that every successful home is shaped by hundreds of decisions made well. The studio’s approach is built around proportion, flow, material quality, technical detail and understanding how each client wants to live.

What Makes Dream Design Different

Dream Design combines the experience of a long-established design business with the practical benefit of a physical Design Centre. Clients can explore kitchens, bathrooms, furniture, lighting, surfaces, appliances and interior details under one roof, while also receiving the guidance of a specialist design team.

The business works with leading international brands and specialist ateliers, allowing each project to be tailored through a wide range of materials, finishes and technical solutions.

This combination of design judgement, product knowledge and specification experience gives clients a clear route from early ideas through to detailed project delivery.

Clients and Locations

Based in Christchurch, Dorset, Dream Design works with private clients, architects and property developers on private residences across the UK and internationally.

Many client relationships continue across successive homes and generations, reflecting the trust built through careful listening, practical experience and a clear understanding of how each client wants to live.

Projects range from substantial coastal homes in Sandbanks and London townhouses to heritage properties in the Home Counties, with further projects completed in Spain, Antigua and Switzerland.

Find out more at dreamdesign.co.uk.

Christiana Kehrer Interiors is an Interior Designer based in London working on projects based in the UK and abroad.

Christiana has developed a refined and distinctive aesthetic that balances timeless elegance with a contemporary sensibility.

Her work encompasses sourcing exceptional antiques, designing bespoke furniture, and working with the finest textiles to craft authentic interiors that seamlessly blend heritage with modern living.

Inspired by traditional craftsmanship and a sense of nostalgia, Christiana works closely with each client to shape interiors that reflect their personal style.

The result is sophisticated, characterful homes designed to evolve beautifully and endure for generations.

Visit christianakehrer.com to find out more.

Bloomsbury is lovely this time of year, isn’t it? The sun seeps through the trees that line the avenues around the British Museum, bright young things flock to Lamb’s Conduit Street for wine and tailoring and locals and tourists mingle, for the most part in peace, as the days draw longer and longer. It will be summer soon.

The neighbourhood also has the rare distinction of catering to both the traveller and the resident. The local hotels, historically geared to the former, are beginning to play a similar double act. There has long been an unspoken divide between the southern end of Bloomsbury — bordering Holborn — and its northern end, bordering King’s Cross: younger, trendier and somewhere people actually live. The Zetter Townhouse, a new property that sits in Bloomsbury's southern hemisphere, may finally be changing that.

As is the mark of any fine boutique hotel, you could easily walk past the Zetter without realising it is there. I know this because I did so, twice, while searching for signage after an event with the Red Squirrel Survival Trust. I was due to have dinner there with James Thurstan Waterworth, the superstar designer whose past clients include Soho House and the Duchy of Somerset, and who led the Zetter’s four-year renovation project. He is also the man behind Thurstan, a design studio in Clerkenwell (the title is a nod to his middle name).

I find James in the dining room dotted around by lamps, busts and vases (from Africa, Oceania, et al) as well as more quixotic pieces like a miniature ukulele. There is a painting that sits somewhere between a green and a blue, on whose chromatic identity no one can quite agree. The designer holds court over dinner surrounded by an enamoured press (besides being talented, James is compellingly good-looking). And so to the new Zetter, of which much the same can be said, and where a thousand antiques are strewn across all bedrooms and common areas. The building, I am told, was designed to evoke the home of a well-travelled friend. Everywhere are reminders of trips to far-flung corners of the Earth: trinkets and artefacts are carefully arranged so as to feel in dialogue with each other, rather than obliquely juxtaposed.

Every piece has been acquired in much the same way as one might buy a holiday souvenir, James explains, serving as a memento more than an actual symbol of anything. It is a decor that merely hints at erudition without ever falling for the didactic; where stylistic choices are guided not by meaning, but — in a manner reminiscent of Bloomsbury’s status as a fin-de-siècle icon — by beauty. With this new property, the Zetter Group continues to cement its hold over central London: the Bloomsbury townhouse is their third opening in the last 20-odd years, joining properties in Clerkenwell and Marylebone.

The building is made up not of one but six Georgian properties, vestiges of a golden age that have been knocked together to create a quiet grande dame. There are 68 rooms in total, although the hotel feels nowhere near as big — a good thing. The lighting, sly and seductive, contributes to an overall feeling of cosiness. The location, at the back of the British Museum, elucidates some of the more out-there design choices. What has been derided, in recent years, as a largely looted national collection — many of the museum’s notable items, such as the Elgin Marbles, are cobbled from Ancient sites — works rather well here, the moodiness of the setting conferring upon the artwork a more intimate, perhaps devotional feel.

The Zetter’s strength, as a hospitality brand, is evidenced in the time it takes to build its portfolio. It waits for the right set of properties to come up for restoration and ensures that all artistic choices are considered and unhurried. Bringing in Soho House’s former European design director for this particular project has paid off. Speaking to Country Life in 2025, James cited Axel Vervoordt and Robert Kime as his aesthetic heroes: men whose seamless blending of the old and new have left an indelible imprint on the young designer and whose relationship to antique collecting showed no temporal or geographical boundaries. (Still the case for Axel.)

In the same interview, James expressed a love for the artist Roger Hilton. ‘It’s very basic,’ the designer said — an accusation sometimes leveled against Soho House by its detractors — yet his decisions suggest, at every turn, that he is marching to the beat of his own drum. The artefacts at Zetter, while varied, are singular — the pick-and-mix of a trained eye who refuses to subscribe to common denominators. Everything about the Zetter, moreover, feels uninvasive, as though this really is one's pied-à-terre while there. Guests move about the place freely, with glass doors leading seamlessly from the orangery into the garden. The wait staff is discrete, and the bar staff efficient.

Dinner runs like clockwork. Our pudding, a chocolate and salted caramel torte served with hazelnut, amoretti and vanilla ice cream, is an ideal palette cleanser after our exceptional medley of chicken, artichoke and morel. It is time to retreat upstairs. The strength of a hotel, naturally, must be judged first and foremost on its rooms. Are these enough of a blank canvas that one can leave their mark simply by hanging their clothes in the wardrobe or leaving their toiletries in the bathroom? Yet not so impersonal as to feel alienating when one’s usual creature comforts are nowhere to be found?

It’s a fine balance — one the Zetter strikes with ease. Each room is entirely unique: some boast mustard-coloured walls, others four-poster beds, and in the odd case, a freestanding bath. Sash windows are painted cream and gaze out onto the street or onto the courtyard, depending on which side of the corridor one enters the room from. If booking, ask for one with a courtyard view. They gaze out onto the British Museum and on the west-facing light at sunset.

A mounted fabric of blue indigo, produced by the Mossi Tribe of Burkina Faso, hangs above my desk (the Zetter knows its clientele can be the busy kind), lending a touch of drama to an otherwise warm bedroom. Mattresses, meanwhile, are from Royal Warrant-holder Hypnos, so comfortable one falls asleep in under ten minutes. The bathroom is modern and practical: a shower head disappears into the ceiling just as overhead lighting would ordinarily, although you’ll find none of the latter here. The handle of the smaller shower spray is appended somewhat annoyingly close to the body; a slender man myself, I kept bashing into it.

There is an obvious reputational risk for any hotel set within walking distance of King’s Cross: how to avoid being seen as somewhere visitors merely pass through, even if they do pay their dues? The Zetter has risen to the challenge in much the same way as The Goring, one of London’s grande dame hotels a stone’s throw from Victoria Station. That is, as Voltaire decreed, by cultivating one’s jardin. The Zetter's garden holds both a terrace and an enviably mowed lawn (crucial, as the summer months creep in), which themselves serve as extensions of the orangery: a paean to the early 20th-century explorer-collector and, no doubt, the room in which James’s vision comes alive the most.

Hand-stitched cushions, red whicker armchairs and a rich assembly of plants envelop the dining tables, as the sun beats down from an ample roof light. The blinds recall those you might find on safari and the whole thing smells faintly of cedar. ‘I collect 20th century British abstract art — 1950s-70s — very much the British-St Ives ilk,’ James once told Country Life. The Zetter fizzes with the same kind of mid-century energy that London's new hotels tend to lack. I'll certainly be coming back.

Rooms at The Zetter Bloomsbury start from £400 a night, without breakfast. Visit the hotel's website for more information and to book.

Lonika Chande founded her award-winning, London-based interior design studio in 2017. The studio works on residential projects across the UK and abroad.

Lonika is supported by a dedicated and experienced design team who share her attention to detail. For Lonika to maintain a hands-on approach and build meaningful relationships with clients, the team works collaboratively on a small number of projects.

The studio creates highly original spaces. An intuitive use of colour and captivating textile combinations resonate warmth, character and individuality to complement the architectural integrity of a building.

Find out more at lonikachande.com.

Transforming international public and private art collections

As the leading specialist in art lighting, TM Lighting is renowned for its award-winning, British-designed and manufactured LED lighting products for global private and public art collections.

The TM philosophy is based on the belief that when art is illuminated to its full potential, it can transform the viewing experience at home or in a gallery space. It also helps clients discover how exceptional lighting can elevate a single masterpiece to an entire art collection.

TM Lighting provides tailored solutions to an international client base that includes globally acclaimed artists (Damien Hirst, Conrad Shawcross and Antony Gormley), world-class public and private art collections, museums and many of the UK’s historic houses (Arundel Castle, Blenheim Palace and Kenwood House, for example) along with contemporary galleries.

Museum-quality

TM Lighting works with UK’s leading museums, institutions and organisations including The National Gallery, The Victoria & Albert Museum, Natural History Museum, The National Trust, English Heritage. It is also the official lighting partner for Somerset House.

British made

The TM Lighting product range is proudly designed and manufactured in central London, UK, now with CB international accreditation and UL Listing for the US.

Service excellence

Not only does TM Lighting design and manufacture its own range of products, but it also provides lighting as a personal, end-to-end design and advisory service to its international client base. This includes educating the client on how to light artwork and also focusing the lights to ensure the perfect lighting in the gallery or home setting.

#BringingArtToLight

tmlighting.com

On the night of May 10–11, 1941, London witnessed the last and most intense air raid of the bombing offensive known as the Blitz. A communique from the German High Command quoted in the British papers claimed that hundreds of high-explosive bombs and more than 100,000 incendiaries had been dropped on the capital. Westminster suffered particularly badly in the attack, with damage to the Abbey, Westminster Hall, the House of Lords and the Elizabeth (then St Stephen’s) Tower, although the great clock continued to operate faultlessly and Big Ben to chime.
The House of Commons, meanwhile, was hit by a high explosive bomb and then engulfed with flames caused by an incendiary. Next morning, the chamber — created by Charles Barry and Augustus Welby Northmore Pugin just over 90 years previously as part of the great Victorian rebuilding of the Palace of Westminster — was reduced to rubble and the adjacent Members’ Lobby left a roofless shell. The Prime Minister, Winston Churchill, visited the next day. According to The Daily Telegraph he ‘said little during his tour’, but ‘frowned for most of the time the damage was being shown to him’.

It was more than two years after the event, on October 28, 1943, that the Commons gathered in the borrowed chamber of the House of Lords to discuss its future accommodation. From Hansard, it’s clear that the turnout for the debate was thin, but, as war raged across Europe, the Prime Minister moved the motion in characteristically magisterial terms.

‘We shape our buildings and afterwards our buildings shape us,’ he asserted. ‘Having dwelt and served for more than 40 years in the late Chamber, and having derived fiery great pleasure and advantage therefrom, I, naturally, would like to see it restored in all essentials to its old form, convenience and dignity. I believe that will be the opinion of the great majority of its Members. I am, therefore, proposing in the name of His Majesty’s Government that we decide to rebuild the House of Commons on its old foundations, which are intact, and in principle within its old dimensions, and that we utilise so far as possible its shattered walls.’

The Prime Minister went on to urge that the new building should necessarily respect two ‘characteristics’ of its ruined predecessor. First, that the new house should likewise be ‘oblong’. It was a shape, he argued, that ‘much favoured’ the two-party system and physically emphasised the momentous political nature of crossing the floor, as he could personally attest. By contrast, the ‘semi-circular assembly, which appeals to political theorists’, made it ‘easy for an individual to move through those insensible gradations from Left to Right’.

Second, the new chamber ‘should not be big enough to contain all its Members at once without over-crowding’. Otherwise, he opined, ‘nine-tenths of its Debates will be conducted in the depressing atmosphere of an almost empty or half-empty Chamber’. Added to which, ‘the essence of good House of Commons speaking is the conversational style, the facility for quick, informal interruptions and interchanges’. This required ‘a fairly small space’, which would also create ‘on great occasions a sense of crowd and urgency’.

The rebuilding, he suggested, should commence after the war, but the plans for it should be laid immediately to avoid any ‘injurious hiatus in the continuity of our Parliamentary life’ in what he predicted would be the stormy politics of post-war years. In his peroration, he thanked the Lords for ‘our sojourn on these red benches and under this gilded, ornamented, statue-bedecked roof’ — a reference to the superb interior in which he spoke — but he ended with a quotation from the sentimental song Home Sweet Home (1823): ‘Mid pleasures and palaces though we may roam,/Be it ever so humble, there’s no place like home.’ He then left the chamber.

The exchange of views in the debate that followed would have been eerily familiar to Barry, who was driven to an early grave by the aggressive and contradictory demands of parliamentarians during his work to the Palace of Westminster. They also resonate today, as Parliament scandalously continues to defer the hard and increasingly urgent decisions about restoring Westminster.

One MP urged the relocation of Parliament to a greenfield site with state-of-the-art facilities on the ‘biggest scale’, including a station, aerodrome and ‘fine car park’, another that it should be rebuilt in the Classical style and a third that it should be in keeping with the Victorian Palace. There were other opinions besides. As to the shape and size of the building, some flatly disagreed that the bombed chamber was anything to admire. Had not the Commons sat in many chambers in the past?

Other parliament buildings across the globe were cited in arguments about the future form and facilities of the building and an extravagant claim was made that French democracy had been undermined by the shape of the chamber used for debates. Cost and resources featured, too. Would bombed-out families be shocked by Parliament looking after itself? Even those who wished to see the chamber restored cited the need for improvements in acoustics, lighting and press access. Where were the telephones? Were inkpots necessary?

For all this discussion, the government motion passed unaltered and a Select Committee was appointed ‘to consider and report upon plans for the rebuilding of the House of Commons and upon such alterations as may be considered desirable while preserving all its essential features’.

Astonishingly, those features were directly derived from the chapel of St Stephen, begun in 1292. Following the Reformation, this superficially adapted interior had become the first permanent home of the House of Commons. It’s from the facing ranks of choir stalls in this building that the modern arrangement of benches in the House of Commons derives, likewise the Member’s Lobby from its antechapel and the position of the Speaker’s Chair from the high altar and Gospel lectern.

In April 1944, the Committee selected the architect Sir Giles Gilbert Scott from a short-list drawn up by the Royal Institute of British Architects. He was helped in this work by his brother Adrian. It was an obvious appointment. Scott had first sprung to fame in 1903 at the age of 22 as the winner of the competition to design Liverpool’s Anglican cathedral. He had since established himself as a leading architect of his generation, with an enormous diversity of projects to his name, from the K2 telephone box of 1925 to Battersea Power Station of 1929–35, and from the University Library at Cambridge of 1931–34 to replacing Waterloo Bridge in London in 1937–42.

Scott was well versed in English and European Gothic. He agreed that the new work at Westminster had to sit stylistically with the old, but was critical of the Victorian detailing, which he described as ‘lifeless and uninteresting’. In its place, he aimed to create something ‘fresher, lighter and more alive’. Whereas Barry and Pugin had adopted an eclectic style that freely combined details of many phases of English Gothic, Scott adopted a restrained Perpendicular Style modelled on Tudor buildings. He also almost completely stripped out the heraldry from the design, which was the leitmotif of the Victorian decoration throughout the Palace.

By October, Scott had drawn up his designs, presenting them with the help of an exacting model at a scale of 1:48 by Thorp Model-makers at the considerable cost of £509 14s 2d. Building work, however, waited until the end of the war. As reconstructed, the chamber sits within the earlier walls and has a pitched roof of the same volume as its predecessor. The Victorian roof had incorporated painted panels, but Scott’s roof is plain and densely timbered. It again accommodates a skylight, but one illuminated by electricity rather than the sun (there are offices above). This detail was a concession to the demand that the rebuilt interior, like the Victorian chamber, initially had no suspended lights.

The internal furnishings were largely made using kiln-dried oak from Shropshire. This created a light finish in contrast to the stain and gilt of the earlier interior. Scott used a similar finish in many other comparable projects, including the slightly later restoration of the London Guildhall. At the Commons, he fought an unsuccessful rearguard action to prevent what he regarded as the oversimplification of the panelling as a cost-saving measure. All the carving of the oak was undertaken by Green and Vardy of Islington over a period of three years.

Internal galleries for visitors had been part of the Commons since the 1690s. These were expanded at the ends of the room and the distinct spaces for men and women integrated to create a single Strangers’ Gallery. At the same time, the columns that had previously supported them were removed, opening out the floor of the chamber. This was initially planned by Scott with more upright benches furnished with a new machine-woven wool tapestry called Replin. MPs, who had enjoyed slumping on Barry’s leather-covered originals, however, demanded that the old benches be exactly re-created with upholstery in the Tudor livery of green. In concession to the poor acoustics, a miniature speaker was fixed in the back of the benches every two seats.
Great care was lavished on the Speaker’s Chair which was independently commissioned from H. H. Martyn & Co of Cheltenham in Gloucestershire. It is carved from Australian Black Bean Wood, one of many gifts of furniture and materials made by Dominion and Commonwealth territories of what was already a rapidly shrinking Empire to the rebuilding—including inkstands, ashtrays and replacement despatch boxes. The chair’s canopy was made by Watts & Co, with embroidery by the Misses Scrivener that made use of 5,000 yards of gold thread.

Although Scott was focused on the form and decoration of the chamber, he also faced the structural challenge of inserting it within the existing layout of the Victorian building. As conceived by Barry, the two houses of Parliament were aligned in the plan, with the Speaker’s Chair of the Commons and Sovereign’s throne in Lords just intervisible down a long enfilade that crossed the towering volume of Central Lobby. Scott’s re-creation not only preserved this alignment, but its aesthetic coherence as well.

The gutted Members’ Lobby was repaired after Barry’s design, but — as was suggested in the 1943 debate — the scarred doorway to the chamber was preserved as a reminder of the wartime damage. It is flanked by sculptures of Churchill and Lloyd George, Britain’s two 20th-century wartime leaders. All the Gothic detailing was skilfully recut using stone quarried from Clipsham, Rutland, but with updated black-letter inscriptions. To either side of the Chamber itself, Scott also created Aye and No lobbies, the tellers’ desks rolling out on rails to facilitate counts.

More practical concerns included the need to create an efficient air-conditioning system. The heating system of the old house had been a favourite subject of complaint for MPs and the task of creating a more effective replacement fell to Dr Oscar Faber. This operated with the help of a periscope that allowed the operating engineer to increase or divert the flow of air according to the level of attendance and in response to divisions. Another concern was the provision of modern communications, including scores of telephone cabinets. Offices and services were squeezed into every available space above, below and to the sides of the new structure.

The new chamber was officially opened by George VI on October 26, 1950, nearly 10 years after it had been destroyed. Many critics were regretful that Scott had been compelled to work in a Gothic style. Indeed, the fact that the Festival of Britain opened the following year in the summer of 1951 underlines exactly how counter-cultural this was. The Times correspondent observed that if art was meant to please and amaze, the new chamber would ‘be pleasing to many but will astonish no one’. Regardless of such judgements, however, Scott’s neo-Gothic interior arguably articulates in architecture the creative tension between tradition and modernity that — for better or worse — remains central to our politics.

This article first appeared in the October 29, 2025 issue of Country Life. For more information on how to subscribe, click here

Timeless Crystalware for Every Table

At Veritable, crystalware is more than just tableware — it is about creating moments that are treasured and remembered. Our collection was born from a love of fine food and drink, and the joy of sharing them with family and friends. Whether it’s a Sunday roast, an anniversary toast, or simply a quiet weekday supper, the right tableware adds a sense of care and attention that makes each occasion special.

Craftmanship

Each piece is hand-crafted by skilled artisans using traditional techniques, designed to last and be enjoyed for generations. Our timeless designs are chosen to be loved equally by grandparents and grandchildren.

As William Morris said: 'Have nothing in your house that you do not know to be useful, or believe to be beautiful.'

Appeal

Crystal has been prized for centuries for its clarity, strength, and sparkle. The high mineral content allows for fine walls and thin rims, perfect for wine glasses, and enhances the natural brilliance of the glass. The soft bell-like chime when glasses meet is a joyful reminder of care, quality, and tradition. These are not just vessels, but pieces to enjoy with all the senses — sight, touch, even sound.

Authenticity

The name Veritable comes from the Latin for 'true', reflecting our commitment to authenticity, beauty and practicality.

Our crystalware is the finishing touch that brings true pleasure to everyday dining, making even simple meals feel considered and complete.

To us, dining is about taking a moment to slow down, taking pride in how it is served.

Gifting

Veritable is about treating yourself and your loved ones.

It is all about Dining Well.

Find out more at www.veri-table.co.uk

Heritage

From rock stars to landed gentry, Pat Giddens is the last of five generations of drapers who have dressed the homes of the rich and famous creating beautiful interiors to match their celebrated owners.

Over a century on from the first Giddens drapery — established by her great grandfather in 1878 — Pat now sits at the head of the business, combining impeccable heritage with contemporary style and flair.

Services

Pat Giddens Ltd employs a team of highly skilled curtain makers and upholsterers, creating exquisite curtains, blinds, upholstery and soft furnishings from its West London workshop. More than just drapers, each member of the team shares a keen eye for design and a rich knowledge of fabrics, both traditional and contemporary, enjoying close relationships with a number of top fabric designers from around the globe. The highest level of craftsmanship and attention to detail sees clients return again and again.

Portfolio

The company’s impressive portfolio includes a variety of commissions, from grand country estates and luxurious ski chalets to small rural cottages and London apartments. In addition to its roster of private clients, the team works with a number of the UK’s leading interior designers, as well as a host of national trust properties.

In addition to her drapery business, Pat also runs a beautiful homewares company called The Hackney Draper. The shop is a treasure trove of eclectic homewares, textiles, cushions and bespoke linens, curated from all over the world. The team here also makes curtains and upholstered furniture for both private clients as well as architects, interior designers and commercial businesses.

Find out more at patgiddens.co.uk

Despite the high ceilings, a combination of dark wood floors and worktops meant there was little light in the kitchen of this Borders home.

To better reflect 21st-century lifestyles, the planners agreed that the dividing wall and chimney breast could be removed to create one large, light-filled room. The design brief included retaining several existing features, such as the original oil fired AGA, a large, glazed dresser and a staircase leading down to the cellar.

The Guild Anderson team was led by Kate Lawrence-Parr, who designed a bespoke arched mantel over the cooking area with recessed, hand-painted wall cabinets on either side to include a vertical pan cupboard and drawers for baking equipment. A hob and a small sink sit on either side of the AGA.

‘One of the clients is a keen cook, so it was essential that this kitchen not only looks pretty, but functions well and has plenty of storage,’ explains Lawrence-Parr. ‘The cabinetry details take inspiration from the architectural features, such as the existing shutters.’

In the middle is an oak cook’s table with a marble worktop at one end. Traditional peg details and Georgian-style aged brass drop handles from Armac Martin belie modern elements, such as a charging drawer and extra-deep kitchen equipment drawers. On the right-hand wall is a washing-up area with a traditional drying rack hung to drip dry into the sink from Shaws of Darwen.

The cabinets are in Farrow & Ball’s Breakfast Room Green and the tongue-and-groove panelling is in a contrasting pink, Setting Plaster. The aged brass taps are from Barber Wilsons.

For more information visit Guild Anderson's website.

This feature originally appeared in the June 25, 2025 issue of Country Life. Click here for more information on how to subscribe

Ian Adam-Smith Architects specialise in designing ‘The English Country House’. With over 25 years of experience, their work ranges from thoughtful additions to listed buildings to the development of entire private estates. Their unmatched attention to detail and expertise makes them the ideal partner for anyone seeking to create their dream home in the countryside.

Recently joining the practice is Ian’s son, Mungo. Inspired by the craft from a young age, Mungo now co-leads the practice with his father, bringing a fresh perspective and shared passion for excellence.

Based in Fernhurst, West Sussex, the Ian Adam-Smith Architects team is dedicated to working with both private clients and developers to design homes that evoke the charm of period properties yet are built with the highest standards of modern craftsmanship. Their expertise extends to the restoration of significant Arts and Crafts houses by renowned architects like Lutyens, Voysey, Shaw, and Lorimer. In these projects, they take great care to return the homes to their original splendour while integrating sustainable technologies for long-term value.

With a holistic approach that spans from interiors to landscaping, Ian Adam-Smith Architects collaborate with a trusted network of designers, craftsmen, and consultants to deliver the best possible results. Their team’s vision captures the essence of each project, creating spaces that feel timeless and deeply personal.

Having completed over 700 projects, primarily private homes and estates across West Sussex, Hampshire, Surrey, London, and internationally from France to Barbados, Ian Adam-Smith Architects are known for their commitment to understanding clients' needs and building lasting relationships. This dedication ensures a loyal clientele who return time and time again.

With a strong network of experts, ranging from landscape designers and cabinet makers to project managers and planning consultants, Ian Adam-Smith Architects lead every project with energy, passion, and experience to craft exceptional country houses.

Find out more at ianadam-smith.co.uk.

Based in the heart of the Cotswolds, J Rigg Construction is built on a foundation of craftsmanship, integrity, and a deep appreciation for the charm of the region’s architecture.

It's a construction company that specialises in delivering high-quality building and renovation services, combining traditional techniques with modern innovation to create homes that are as beautiful as they are functional.

With over 50 years’ experience, working on a range of properties, from manor houses and listed buildings to bespoke new builds, J Rigg understands the unique demands of construction in the Cotswolds. The team of highly skilled craftsmen are passionate about preserving the heritage and aesthetic of the area while meeting the highest standards of quality and performance.

Quality Without Compromise.

Find out more at jriggconstruction.co.uk

Moore Design Ltd is a boutique interior design practice with an impressive roster of high end clients around the UK and overseas. Eminent designer Robert Moore launched his solo business in 2010 following a decade working with Paolo Moschino for the Nicky Haslam brand.

Boasting a varied portfolio of grand country houses, chic London homes and romantic ski chalets, Robert is the epitome of laid back glamour.

Moore Design's Ethos

Moore Design specialises in creating smart, elegant and above all timeless spaces for discerning clients. From large restoration projects to interior renovations, Robert works alongside architects and planners when needed. He is meticulous about the quality of his work, drawing on a carefully curated little black book of experts and craftsmen.

A training in furniture and product design allows for an innate understanding of the finer detail and a knack for mixing old with new. In many of his schemes, contemporary features sit comfortably alongside antique treasures and period features.

Unafraid to combine vivid colour with neutral tones, Robert is wary of ‘in vogue’ colour schemes creating spaces that are beautiful but above all liveable and stand the test of time.

Moore Design's USP

A highly personal service and fearsome attention to detail is at the heart of every Moore design. Working closely with clients, much loved personal pieces take pride of place — from a treasured antique heirloom to a favourite work of art, prize possessions are cleverly woven into the fabric of every project.

Find out more at mooredesign.info.

World-class specialist in luxury surfaces

A Yorkshire company with an international reputation, Lapicida work with top architects and designers, as well as private clients, all over the world. A world-class specialist in luxury surfaces, Lapicida combines natural stone and marble products, new-generation materials and unique bespoke services with traditional masonry skills and high-tech capabilities. Lapicida is also a renowned specialist in reclaimed stone, marble and terracotta, reengineering antique surfaces for 21st century use.

Showrooms in Harrogate and Belgravia

Lapicida has inspirational showrooms in both Belgravia, London and Harrogate, North Yorkshire where the company’s extraordinary three-acre showroom, garden and workshop complex is located. The Harrogate showroom displays hundreds of products, indoors and out, whilst their workshops house traditional artisan stonemasons, working alongside technicians who operate the most advanced scanning and automated stone-working equipment in Europe.

It is this combination of traditional stonemasonry and state-of-the-art product which sets Lapicida apart. Lapicida maintains large stocks in their Yorkshire warehouses for fast delivery.

Bespoke British craftsmanship

From historic reclaimed floors to custom-made elements for indoors and out, Lapicida’s Belgravia showroom highlights the company’s bespoke capabilities, combining advanced technology and craft skills to transform stone and marble into anything from cantilevered staircases, balustrades, book-matched panels, custom-designed inlays and intricate mosaics to stone and marble baths, full-scale statuary, tables, basins and freestanding decorative pieces . This is bespoke British craftsmanship at its very highest level.

ORNAMENTI garden ornaments

Alongside their collection of beautiful surfaces is ORNAMENTI - a curated collection of fine garden ornaments from frost-resistant terracotta, via unique garden furniture and armillary sphere sundials, to hand-carved fountains and obelisks.

Collaborations including English Heritage

Lapicida's product collaborations with leading designers, and the likes of English Heritage, challenge the technical boundaries of stone design and manufacturing. Working towards carbon neutrality, Lapicida collaborates with its suppliers to source responsibly and recycles waste stone.

Find out more at lapicida.com

Guild Anderson is driven by the simple goal of doing justice to period architecture by designing rooms which sit comfortably in their surroundings and last forever.

Empathy. The Cornerstone of Good Design.

The company’s guiding principle centres around empathy for both client and architecture. By listening to the needs of both, it can design rooms which complement architecture without overshadowing it. Combining this with a forensic examination of its client’s lives, the company is able tread the fine line between sympathetic aesthetics and deep practicality.

Rooms with Purpose

The rooms Guild Anderson creates are there to be used. To be there for their client’s family journey. To be dented, scuffed and enriched with the hallmarks of daily life. To tell stories. And, after a few years perhaps, given a fresh coat of paint ready for the next generation to enjoy. To this end, the company creates rooms with purpose and rooms with soul, not simply rooms to be admired.

Awards with Interior Designers

Close collaboration with interior designers forms an important part of Guild Anderson’s success. The company embraces such collaboration, with its recent partnership with Salvesen Graham being awarded a Bespoke Guild Mark by The Furniture Makers’ Company for their collective work at Trewithen, a Grade I listed Palladian house in Cornwall. Further recent projects alongside Max Rollitt, Guy Goodfellow, Craig Hamilton Architects and Adam Architecture are also being admired.

Designed to Endure

The companies knowledge and understanding for classical proportion, shadow and scale, combined with deep interest in how modern families can live in period houses, allows it to create rooms which look like they belong, rooms which function exceptionally well, and rooms which last for lifetimes.

For more information visit www.guildandersonfurniture.co.uk

Founded by Sean in 2019, Sean Symington Design has grown into a close-knit, dynamic team of skilled designers delivering exceptional service to an expanding clientele.

With roots in Toronto and experience at leading firms across the UK and North America, Sean has built a practice that draws on his diverse background in residential, hospitality, and commercial design.

This deep understanding of both design and construction is at the center of the studio’s approach, where the focus remains on prioritising clients’ needs while crafting bespoke interiors that truly resonate with their homeowners.

Each project is approached holistically, seamlessly blending interior architecture and meticulous styling to create cohesive, distinctive spaces.

Guided by the client’s vision, Sean develops and delivers design that honour both individual preferences and the architectural integrity of each property.

Every project begins with a detailed brief, establishing clear parameters while allowing room for creative interpretation and unexpected touches that become signature moments.

Find out more at seansymington.com

Founded by Kit Kemp MBE, the Kit Kemp Design Studio is celebrated for its highly creative, individual and original approach to design, with colourful and detailed storytelling which celebrates craft and captures the imagination. Working across residential, hospitality and product design, Kit and her team are passionate about creating exciting and unique interiors that entice and surprise. The Design Studio is a family business, with Kit’s daughters Willow and Minnie Kemp leading key roles within the studio.

Recent projects include ‘A Dining Room of One’s Own’ for the prestigious Kips Bay 49th Annual Decorator Show House in New York, Warren Street Hotel, a 69-bedroom hotel in TriBeCa, a collaboration on a comprehensive textile collection with GP & J Baker, alongside residential projects in the UK, France and the US. Author of four books, ‘A Living Space which follows an inspiring personal voyage through the many spaces Kit has designed, ’Every Room Tells A Story ‘Design Thread’ and 'Design Secrets’, Kit’s guide to adding character and style to an interior.

A Dining Room of One’s Own, a jewel-box dining room, was created for the Kips Bay Decorator Show House New York, where stepping over the threshold into this layered space immediately transports you to the English countryside.

Nestled in the vibrant and creative Tribeca neighbourhood, Warren Street Hotel is a joyful celebration of contemporary art and design, filled with unique pieces from favourite and recently discovered artists, with every inch infused with our sense of fun and love of storytelling.

Kit Kemp collaborated on a comprehensive textile collection with GP & J Baker, transforming their Design Centre, London showroom into an enchanting and vibrant forest, captivating the senses.

The Kit Kemp Design Studio has collaborated with leading global design brands such as Wedgwood, Spode, Andrew Martin, Christopher Farr, Chelsea Textiles, Fine Cell Work, Porta Romana, Annie Selke, Wilton Carpets and Anthropologie, creating iconic fabric and wallpaper collections, signature tableware and bath and body ranges that each capture Kit's spirit and passion for craft.

Most recently, the Kit Kemp Design Studio has collaborated with Humans since 1982, creating the ClockClock 24 ‘Dada Blue’ edition, composed of twenty-four small analogue clocks, available exclusively at Shop Kit Kemp.

Residential rustic country house projects by Kit Kemp Design Studio.

“Fond memories of growing up deep in the countryside play a subliminal role in our crafted country style aesthetic. I’m always looking for pieces that tell a unique story, maybe of a person or a time in history, of a particular handcrafted technique, or even just something with a combination of colour or pattern, or a found object re-purposed in an unusual way that takes you unawares. These are the ‘design threads’ I like to weave throughout all the interiors I design.” — Kit Kemp.

Sharing the Kit Kemp collections alongside favourite artists and craftspeople, Shop Kit Kemp, an online shop and showroom in Ham Yard Village, offers an exclusive range of bespoke and ready-to-buy products for the home, created and sourced by Kit Kemp and her design team, making Kit’s playful and sophisticated designs available globally.

See more at kitkemp.com

Jack Badger is a team of highly talented and knowledgeable traditional joiners, with experience of working on some of the most beautiful, complex and prestigious projects in the country.

Based out of our workshop in Old Glossop, Derbyshire, and working throughout the UK, we have become well known for our blend of traditional joinery skills, carving, in-house design and technical capabilities as well as our collaborative approach.

Ethos

Jack Badger is borne from a family tradition of craftsmanship and a deep appreciation of traditional skills and historical buildings. This respect has guided the company’s commitment to honouring the mindset of previous masters of their craft and enabled Jack Badger to build its reputation and identity, culminating in the traditional joinery firm it is today.

Aesthetic Style

Our aesthetic style references late medieval and early modern design and our considered re-working of those designs seek to create beautifully handcrafted internal and external doors, panelling, flooring and other architectural features; authentic to the core yet fit for modern living.

Unique Selling Points

Our commitment to traditional joinery has set us apart in an industry dominated by automation and synthetic materials.

Our never wavering commitment to attract and retain the best skilled crafts men and women and refusal to compromise on the materials we use, has not always been easy, but has placed us in a unique position; few companies are able to hand-make bespoke architectural joinery on a commercial scale. Knowledge and skills that no longer exist in the wider industry are ever present in the work Jack Badger do, which has enabled us to cement our position as industry experts.

Our future

The next chapters in the Jack Badger story rely on us continuing to strengthen and grow our team, attracting and retaining the very best carvers, joiners, finishers and fitters in the country.

Whilst the tools and techniques we use to make our pieces are shrouded in tradition and key to their authenticity, we appreciate that technology has a role to play in our future. Our design and development processes can only improve as technology does, helping us to continue innovating and improving on the historical designs that inspire our work.

Find out more at jackbadger.co.uk

Website: https://caisley.uk/

Telephone: 01727 576 109

Email: info@caisley.uk

Address: 2 Crown Yard, Redbournbury Lane, Redbournbury, St Albans. AL36RS

Instagram: https://www.instagram.com/lauren_caisley/

LinkedIn: https://www.linkedin.com/company/caisleyinteriors

Pinterest: https://uk.pinterest.com/laurencaisley_interiors/

Caisley are an English design studio renowned for their quiet elegance and classically timeless style. Working on exceptional period properties across the UK and beyond, founder Lauren Caisley and her team create refined, comfortable and truly delightful spaces that feel like home

Caisley place the importance of home at the centre of their design process. The work is often described as warm, natural and refined and they bring an effortless aesthetic to each project.

However it’s this studio's focus on how your home feels that creates the biggest impact on their clients. No surprise then that they have been entrusted with a variety of international projects, from traditional French Manor Houses and grand Seafront Villas, to Grade-I Listed English Stately homes and royal residences.

For more information please visit caisley.uk

Tosca & Willoughby have been making the highest quality wooden loo seats for over 40 years. During that time they have supplied interior designers and private homes across the world.

In 1977 James & Janice Williams could not find any wooden loo seats for their Fulham bathroom shop, Sitting Pretty, so began making their own. Fifteen years later they sold the London shop and concentrated on the making of wooden loo seats from their family farm in Oxfordshire.

All their seats are handmade from solid timber grown on certified plantations and using traditional techniques and the best quality materials. Their hinges are stamped in Birmingham from their own dies, which ensure the best and strongest finish possible with total quality control. The seats are then assembled in their Oxfordshire workshop.

Tosca & Willoughby is based on the Williams’ family farm in Oxfordshire, which has informed their business practice in terms of using ecologically sound materials to produce their seats.

They make seats in a variety of timbers and finishes as well as having a bespoke painting service. They frequently paint commissions from Coats of Arms to animals on the seats and they would be pleased to take commissions.

Find out more about Tosca & Willoughby at looseats.com

Founded in the 1930s, Sibyl Colefax & John Fowler is the longest established interior decorating firm in Great Britain, synonymous with the English country house aesthetic for nearly a century.

Relaxed, inviting, deeply comfortable and entirely personal, Sibyl’s pioneering approach – effortlessly mixing old with new, luxurious with humble - is today interpreted by the seven decorators, supported by an architectural interior designer.

Moving to Pimlico Road from their iconic Mayfair showroom, home to Nancy Lancaster’s Yellow Room, heralded the start of a new era for the decorators, who are as practiced at creating 21st century interiors as they are at working on historic buildings.

Commissions range from some of Britain’s most notable stately homes to modern city apartments, from ranches in America to ski chalets in Europe and tropical beach houses in the Caribbean. Boardrooms, restaurants, yachts and private jets add variety to the mix.

The client list (resolutely confidential) includes royalty and celebrities, businessmen and women, bohemians, and many in between.

For more information please see www.sibylcolefax.com

Website: https://www.emmakirbydesign.co.uk/

Telephone: 01367 810575

Email: enquiries@emmakirbydesign.co.uk

Address: The Coach House Studio, Home Farm, Grafton, Oxfordshire, OX18 2RY

Instagram: https://www.instagram.com/emmakirbydesign/

Pinterest: https://www.pinterest.co.uk/emmakirbydesign/

Emma Kirby Design offers a comprehensive range of services covering interior design, architecture, planning, and construction. Our highly experienced team, led by Emma Kirby (Design Director) and Michael Ergatoudis (Development Director), is dedicated to creating unique and refined spaces tailored to our clients' individual requirements.

Emma creates beautiful, inspiring and inviting interiors by sourcing and blending the very best of antique, vintage and modern design as well as developing her own bespoke pieces. 

The layering of texture, colour and lighting deliver perfectly balanced rooms where form and function work seamlessly together giving the client a space in which they can feel comfortable and relaxed.

Our extensive project portfolio includes schemes where EKD has assisted clients from initial site appraisal through to complete design and build, and those where clients have sought a tailored service covering a single discipline such as interior design and decoration, planning, or construction and project management.

Successfully completed projects range from private homes (new build, renovation, and conversion) to hospitality schemes including hotels, restaurants, public houses, and private members' clubs.

A particular specialism is work on character and heritage properties, and a significant proportion of projects involve alterations and improvements to Grade II and II* listed buildings requiring both planning permission and listed building consent.

For further information please visit https://www.emmakirbydesign.co.uk/

Website: https://www.hollandgreen.co.uk/

Telephone: 020 7770 9977

Email: hello@hollandgreen.co.uk

Address: London: 91 Wimpole Street, London, W1G 0EF Oxfordshire: The Old Grammar School, Church Road, Thame OX9 3AJ Cotswolds: Cirencester Park, Tetbury Road, Cirencester Gloucestershire GL7 6JJ

X: https://x.com/HollandGreen_

Facebook: https://www.facebook.com/hollandgreenarchitecture

Instagram: https://www.instagram.com/hollandgreenarchitecture/?hl=en

LinkedIn: https://www.linkedin.com/company/1460056/

Pinterest: https://www.pinterest.co.uk/hollandgreenarchitecture/

The HollandGreen Practice

HollandGreen designs and delivers exceptional homes and gardens. They are unique in offering an integrated, end-to-end service across architecture, interior design and landscape design from the same Studio.

Specialists in listed homes and country estates, equestrian centres, spas, contemporary new builds and urban townhouses, they deliver a bespoke response to their clients’ needs, drawing inspiration from the context of the landscape to create individually-conceived homes to the highest standard of quality and detail. 

HollandGreen craft spaces which inspire, nurture and uplift, connecting their clients to nature and leaving an enduring legacy.

Founded in 2010 by Ben Holland and Stephen Green, HollandGreen are a team of over 40 individuals, delivering commissions across the UK and internationally. They work in close partnership with Historic England and have extensive experience of the planning system to guide and oversee their clients’ projects.

HollandGreen - our company & brand film from Architecture, Design, Landscapes on Vimeo.

Specialists in Heritage Homes 

HollandGreen's design process encompasses a delicate balance - preserving the rich heritage, inherent uniqueness and structural integrity of historic homes, whilst integrating thoughtful and unobtrusive modern functionality. 

They are adept at introducing new architectural design to create an exciting contrast clearly defining old and new, which does not detract from the original building but rather creates its next chapter and future legacy. They look to create a natural flow of spaces – introducing more open family living, creating more of a connection to the garden, and bringing more light into historically dark rooms.

HollandGreen's team advocate the reuse of original materials whenever feasible, minimising waste, preserving historical authenticity, and sourcing durable and sustainable elements so their schemes are high quality, maintainable, and timeless in design. They carry out detailed research into the history of each property, liaising with heritage consultants, archaeologists, and local planning teams, and frequently visiting properties with clients before they have purchased to assess what could be possible from a design, planning and budgetary perspective. 

The HollandGreen Approach

Holistic Design: Their Architects, Interior Designers and Landscape Designers collaborate in the same Studio, producing beautifully integrated designs where everything works together and is carefully considered from the outset, resulting in exceptional spaces.

Client Experience: Encouraging design exploration within a supportive and friendly environment, they collaborate with their clients to create imaginative and individual concepts as part of a rewarding design journey.

Technical Delivery: They stand apart in technical design, transforming ambitious concepts and design visions into meticulously crafted construction packages for contractors, ensuring projects run smoothly, stay within budget, and are executed with the utmost attention to detail.

In-House Project Management: Their specialist Project Managers coordinate all aspects of each project, from the design stages through to build and installation, liaising with external consultants and contractors to ensure costs are closely managed, and any delays or disruptions which can arise on site are resolved quickly.

Responsible Design 

HollandGreen are committed to making a positive contribution to carbon capture and storage within the residential property sector. They are part of the RIBA 2030 Sustainable Outcomes initiative, delivering projects that reduce energy consumption and are ‘zero carbon’ and sharing their research with industry partners. They support the Charity Woodland Heritage campaigning for the creation and management of productive UK woodlands, delivering carbon sequestration and research into woodland health and biodiversity.

Little Black Book

HollandGreen work with the best in the industry to make sure their clients’ projects are delivered successfully, on time and to budget, from surveyors, structural engineers, planning consultants to smart home and security providers, archaeologists, arboriculturists and ecologists, to name a few.

Recent Award Wins 

Winner - Domestic Design Project of the Year, Prolandscaper Sustainability & Biodiversity Awards 2023

UK Winner - Landscape Architecture, UK Property Awards 2022-23

House of the Year Finalist, British Homes Awards 2022

Garden Design of the Year Finalist, British Homes Awards 2022

National Finalist and Regional Winner, Best Individual New Home Regional, Local Authority Building Control Excellence Awards 2023

Top 100 Architects and Designers, Luxury Lifestyle Awards 2023

Website: https://www.rosannabossom.co.uk/

Telephone: 02034889744

Address: Studio 64, Pall Mall Deposit, London, W10 6BL

Instagram: https://www.instagram.com/rosannabossomltd/?hl=en

Pinterest: https://www.pinterest.co.uk/rosannabossomltd/_created/

Founded in 2014, Rosanna Bossom Ltd is a London-based interior design studio specialising in both residential and commercial projects, with a portfolio spanning townhouses, country piles, restaurants and members’ clubs.

Bringing together a wealth of experience and connections with specialist suppliers and tradesmen, our team works from conception to completion to deliver a bespoke service for clients.

Ethos

Seeking to champion the best of British production and craftsmanship where possible, we love to blend old with new to create unique interiors that stand the test of time. We enjoy working closely with clients and adjust each project to suit their needs and desired level of involvement, resulting in a finished result that sparks joy for all.

Unique Selling Point

Clients are always drawn to the studio’s ability to pair colours, patterns and textures in an unexpected way that feels both chic and playful. Comfort and practicality are key, with the signature Rosanna Bossom Ltd interior seeking to feel approachable and lived-in as well as beautiful and visually inspiring. Each project is unique, but with certain recognisable threads running through them.

Lucy is greatly skilled with print, which she applies with a relaxed charm, always with longevity rather than passing trends in mind. Lucy draws influence from art, travel, nature and a variety of cultures and eras to inform her vision. Antiques play a key part in her projects, and often it can be a single piece found at auction or an antiques fair that sparks the inspiration for an entire scheme.

Lucy’s projects are filled with colour, pattern and beautiful things, with layers of the unexpected. The LCI team works with the natural bones of a house, retaining and enhancing original beauty and authenticity.

Lucy’s trademarks:

• Fabric walling. Luxurious and sumptuous, it adds a feeling of cosiness and warmth. If fabric walling won’t work, using wallpaper instantly transforms a space. 
• Using lots of colours and mixing patterns to make an impact. 
• Incorporating art and antiques into schemes and designs.
• Mixing old with new, from textiles to furniture.

Recent and current projects:

With a portfolio ranging from charming farmhouses to sprawling country estates, townhouses and commercial spaces, Lucy Cunningham Interiors offers a tailored and individual service, working closely with clients to deliver a timeless result that will be loved and lived in for years to come. Lucy and her team can oversee the full refurbishment and redecoration – recent projects include:

• A 7 bedroom family house just outside Burford
• A farmhouse in West Sussex 
• A mews house in Marylebone
• A listed Georgian house in Hampshire

For further information please visit Lucycunningham.com

Designing and making for the past, present and future

Artichoke is a luxury design, interiors and joinery specialist for the world’s finest and most exclusive homes. Classed as one of the great makers, the highly skilled designers and dedicated master craftspeople create entirely bespoke interiors for every room of the house.

Through uncompromising quality and attention to detail, Artichoke has built a stunning reputation over thirty years with an enviable portfolio of global projects spanning London, the Cotswolds, Tuscany, Hamburg and Los Angeles to name a few.

As the natural designer and maker of choice for many historically significant homes, Artichoke is equally comfortable designing and making for primary rooms such as drawing rooms, libraries, music rooms and master dressing rooms as they are for the core domestic rooms of a home such as kitchens, sculleries, pantries, laundries and boot rooms. With a deep understanding of heritage architecture and classical principles, Artichoke specialises in period homes as well as lending their expertise to more contemporary projects.

The heritage makers offer everything from bespoke cabinetry and furniture to the finer architectural detailing. Artichoke’s multi-skilled, holistic approach means that it can lend its expertise to architecture, interior design, conservation, project management and installation.

Undertaking just a handful of projects simultaneously, design thinking is tailored towards each clients’ way of living and their philosophies to create homes that are distinctive and beautifully liveable spaces. This deep understanding and outstanding quality, means that an Artichoke home is a testament of time and will be enjoyed by generations to come.

Price is on application.

For more information visit www.artichoke-ltd.com

Nels’ style is very much influenced by English Country House interiors; yet she approaches her design with a lighter touch for the new generation of country house owners.

Working closely with her clients, Nels creates spaces that work for the modern family.

Vintage textiles, antique furniture and a bold use of colour are Nels’ signature style. Heavily influenced by her travels through India and Turkey her designs often feature a nod to the East. A comfortable mix of pattern and natural materials work together resulting in relaxed yet smart spaces.

There is no ‘one size fits all’ approach, each client is treated as an individual and a bespoke package can be created for their needs. Nels will spend as much time as it takes to discuss your needs and works on a fixed design fee basis. There are no hidden costs and the relationship between client/designer is fully transparent.

If you are considering a project or stuck in a rut do not hesitate to reach out.

For more information visit the Instagram page for current projects and to see what Nels is up to.

@nels_eyreinteriors

Website: https://www.isabellaworsley.com

Telephone: +44 (0) 20 8075 5232

Email: studio@isabellaworsley.com

Address: Studio 49, Pall Mall Deposit, 124-128 Barlby Road, London.  W10 6BL 

Instagram: https://www.instagram.com/isabellaworsley/

Isabella Worsley Ltd. is an architectural interior design and decoration studio, founded in 2018, working on a range of projects across the UK and abroad.

The North Kensington studio takes a bespoke attitude towards each project, working on only a handful of projects at any one time, to ensure that each project is individual and tailored to its clients’ needs. This comprehensive approach, from concept to completion - with particular focus on architectural detailing and technical design – allows for a creative and personal approach to each project and client.

Drawing from a strong database of artisans, and craftsmen and women, the studio prides itself on bespoke designs, with each project taking a fresh approach, to ensure that whilst heritage is acknowledged, spaces are also designed for the needs of today’s way of life.

For further information please visit www.isabellaworsley.com 

Giles Quarme Architects is an award-winning architectural practice specialising in the repair of historic buildings and the creation of new buildings in historic settings.

GQA are based in London, but happily work anywhere in the UK, and occasionally abroad if required. They are currently working in the Cotswolds, Sussex, Surrey, Shropshire, Cambridge, Oxfordshire, Greater London, Kent, and Glasgow.

The practice is particularly skilled at altering, extending, and restoring Georgian Buildings.

About GQA

The practice was started by Giles Quarme in 1987 after a period working with John Dickinson on a series of critically acclaimed conservation/restoration projects. In 2019 Giles Quarme & Associates became Giles Quarme Architects and Natasha Brown officially joined Giles as a co-director in 2021 after originally joining the practice in 2001.

Together they run a small and brilliant team of architects who specialise in building conservation and traditional, timeless design, whilst maintaining a respect for important historic fabric and architectural significance. The practice believes in producing works of the highest quality and prioritising longevity; and as a result, has won numerous awards for residential, commercial, and public buildings over the years. Our team includes a SPAB Lethaby Scholar, an École de Chaillot Scholar and architects with a love and passion for design, space, and detailing with decades of experience.

GQA is a Conservation accredited practice and is on several important framework agreements including the National Trust and the GLA. However, most of our residential projects come from personal recommendation and are through “word of mouth”, including projects like Althorp, Chilham Castle, Glynde Place, Wiston House, Holland Park, and 100 Bayswater Road, J.M. Barrie’s Peter Pan house.

GQA’s Approach

GQA works closely with clients, consultants, and contractors to provide completed projects with the highest quality finish. The practice uses a combination of traditional detailing, historic research, and modern additions to create an end product that allows the historic elements and contemporary uses of the building to work seamlessly together to meet with the owners aspirations.

We understand the importance of a good working relationship with all stakeholders, including Conservation Officers, Planners and Historic England, which ensures that our proposals obtain their support and encouragement which facilitates obtaining planning and listed building consent.

As Historic England state, “the best use of an historic asset is one that provides a viable future for it.”

We take pride in working as a team and are very happy to work with any consultants and contractors that share our passion and commitment to our projects.

“Consistency is found in that work whose whole and detail are suitable to the occasion. It arises from circumstance, custom and nature.” — Vitruvius

Awards

We are very pleased to have been nominated for an RIBA award this year our work at JM Barrie’s former home on the edge of Hyde Park and for a Civic Trust Award for our restoration of a Georgian Gentleman’s residence, which also won a Georgian Group Award last year.

We are fortunate to have won numerous awards over the years including an RICS Award for Althorp and Glynde, the Sussex Heritage Awards for Glynde Place and Pitshill, and the Georgian Group Awards for Bentley Priory, Roehampton House and Althorp.

Coromandel's Handmade Crewel Embroidered fabrics could be regarded as the luxury textiles of the future, and are sure to become family heirlooms for generations to come. The upholstery weight backing cloth, which they specifically choose to have slow-made on a Handloom, and their exquisite and vibrant Crewels, which are embroidered entirely by hand, are the complete antithesis of today's throwaway culture.

Over a period of months, the beautiful and durable fabrics are handmade, slowly but surely, by highly skilled artisans in a village based cottage industry in Kashmir. This slow process of human interaction, creating something beautiful solely by hand, is in direct contrast to the frenetic setting in which most cloth is now more cheaply made by power looms in city based factories.

By using only 100% natural and biodegradable fibres and dyes, Coromandel produce unique and appealing fabrics which are toxin and plastic free. At Coromandel, they believe that creating luxury curtains and fine upholstery for truly bespoke interiors does not need to be at the expense of the natural world. Their eco-friendly, slow made Crewel and Handloom fabrics are designed to be kind to the environment, as well as to us.

As Mahatma Gandhi said ' There is more to life than increasing its speed'.

For further details vist www.coromandel.co.uk

Eadie & Crole

Sophie Eadie and Fi Crole established their Interior Design Partnership in early 2019, pooling together numerous years of collective and diverse design expertise.

Fi Crole

Fi's journey began with her education at KLC School of Design, followed by notable stints at esteemed firms such as Colefax & Fowler, Jean Monro Ltd, Joanna Wood, Prue Lane Fox, and Veere Grenney, culminating in a successful 20-year tenure running her own business.

Sophie Eadie

Sophie's path led her through The Prince of Wales Institute of Architecture, preceded by a tenure as a specialist painter, followed by founder and joint proprietor of The New England Shutter Company. Subsequently, she ventured into running her own Interior Design company.

Eadie & Crole

Together, they boast a rich portfolio encompassing both renovation and new builds, spanning projects executed both domestically and internationally. Over time, they've cultivated a reliable network of bespoke joiners, craftsmen, and upholsterers, ensuring seamless project execution with dependable resources.

Their discerning eye for unique art and antiques shines through in their signature blend of classic and contemporary, reflecting their dedication to crafting bespoke spaces tailored to each client's distinct vision.

The Arnott Collection

In September 2023 they launched their Arnott Fabric, Wallpaper and Furniture collection, developed from a love of pattern and design and a desire to create a collection that would work for many different styles and designers. Find out more at eadieandcrole/collection.

Find out more at eadieandcrole.com

Thorp

We are a multi-disciplinary design studio comprising a highly creative team of architects and designers with a wealth of experience and a heritage spanning five decades. Our offices are based on Sloane Street, London, SW1 and we currently have a team of twelve talented individuals: five architects, five designers an accountant and administrator.

What We Do

We specialise in an active unity of design approach, designing and managing all aspects of a project, architectural and interior design, furnishing and decoration, art curation, gardens, and landscaping. Typically, our work is large turnkey projects for private clients in England and all around the world.

These range from either an initial green field site or the refurbishment of an existing building and encompass commercial projects such as restaurants and gyms and even state of the art horse boxes with living accommodation.

How we work

From the outset of a project our designers work collaboratively designing bespoke buildings with wholly integrated interiors totally unified as one to answer the client’s unique needs for that property. A large proportion of the furniture and furnishings are designed by us specifically for every individual client’s property and location.

We regularly work together with other leading designers and craftspeople specialising in a specific discipline be that glass, wood, stone, textiles etc. For all our projects we link with living artists creating works for our clients and together we create private art collections for many of them. In our studio in London, we have an in-house art gallery where we can showcase specific artists and their work.

Where we work

We have completed work across the globe, ski chalets in Europe and the USA, private villa in Thailand, penthouse apartment in Miami, holiday homes in the South of France and the Caribbean. We have also worked on private jets, gyms, health clubs, golf clubs and restaurants alongside countless residential homes in the UK.

We are currently in the final installation stages of two large newbuild turnkey overseas projects. A private mountain house in the exclusive Yellowstone Club, USA and a large villa on Lake Como. Together with an Oakley Horse box with accommodation for 6 horses and their humans! All projects were commissioned at the start of lockdown and have been completed despite the inability for us to travel to site due to the pandemic.

Current Projects

Overseas we are in the early design stages of a large private lake-side residence in Connecticut; a private house outside New York; a large holiday home on the coast outside Lisbon, Portugal. Closer to home we are working on four private homes for our clients.

For more information please visit: www.thorp.co.uk

Founded by Emma Sims-Hilditch in 2009, Sims Hilditch is an award-winning interior design studio headquartered in the Cotswolds with a second base in Belgravia. From refined manor houses and country estates to city townhouses and apartments, Sims Hilditch interiors radiate palpable tranquillity and are renowned for their timeless style, rooted in the English Countryside.

Recently completed projects include a Grade I-listed historic London house, a South Kensington family home, a Scottish estate and a 17th century Cotswold manor house.

The Sims Hilditch Approach

“For us, interior design embodies a collaborative journey with our clients. We are passionate about creating homes that enhance the quality of their lives, with interiors that exude a sense of warmth and familiarity, as if they've evolved naturally over time”.

Emma Sims-Hilditch, Creative Founder

Sims Hilditch masterfully weaves a layered aesthetic, incorporating a selection of antiques, vintage pieces and bespoke creations unique to the project. Long regarded as the definitive authority on historic and listed buildings, the team takes immense pride in sensitively future-proofing storied homes and ensuring they function for modern life.

For more information see www.simshilditch.com

VSP Interiors has been dedicated to classic country house design since it was established in 2000. Creative Director Henriette von Stockhausen, who co-founded the studio and has led the business since 2010, collaborates with a diverse portfolio of specialists, artisans, and craftsmen.

The studio undertakes projects worldwide with a focus on listed buildings of architectural significance which they transform into comfortable family homes, incorporating antique fabrics and furniture as much as possible.

“When planning the interiors of period properties, we believe in preserving quality craftsmanship and architectural features while introducing contemporary elements through the use of colour, texture and modern art- The juxtaposition of the new with the old creates an evolved and collected interior that works equally well in town and country.” Henriette von Stockhausen

VSP Interiors endeavours to use local craftsmen and artisans in all their interiors.

Such collaborations help to create a quiet luxury – a one-off custom look that can never be replicated. They have an extensive little black book full of incredible artisans ranging from a wonderful stonemason who specialises in antique fireplaces and their restoration, to extraordinary furniture makers who create truly unique pieces in addition to contemporary artists who provide many of the finishing touches required for comfortable, layered interiors.

Today Henriette describes her style as classic in architecture and bones, colourful and eclectic with a mix of old and new in decoration.

“I always try to mix a few modern pieces into a very traditional set up or the other way round using a few amazing antique pieces in a modern surrounding - this creates a juxtaposition and keeps things interesting for the eye - something unexpected always does the trick. This can also be done with scale- something very big in a small space for example will create a focal point of interest and make the small space seem extraordinary.”

See more at vspinteriors.com

Website: https://www.tuscanpots.co.uk/

Email: robertmoy@tuscanpots.co.uk

Address: 65 Botley Road,Oxford,OX2 0BS

Background

Tuscan Pots was founded by garden designer Robert Moy and his wife Francesca in 2000 in Oxford. It is a family-run business which imports and sells the finest Impruneta Terracotta from Tuscany.

All of these objects are handmade by specialist Tuscan artisans who are stewards of an ancient process of moulded-clay-creation founded in the Italian Renaissance in the 14th Century.

Photography: Anders Gramer

Impruneta creations are part of Italy’s rich heritage, and it is because of this that only a handful of artisans are licensed by the Italian government to stamp their name alongside the word “Impruneta” on their creations.

Tuscan Pots exclusively works with artisans from this elite group in order to provide its clients with unique specialist objects for interiors and exteriors.

History

Impruneta Terracotta pots are made from a unique clay found only around the village of Impruneta by the river Arno near Florence. The clay is extremely stony which, when fired, creates a honeycomb structure that allows water to expand and then escape during the Winter.

The strength of these pots comes from the high iron content present in the clay, which infuses this honeycomb structure with strength. It is this combination of structure and support which allow these pots to survive for centuries, even in colder climates.

Much of Impruneta Terracotta is sold directly to the Alpine communities. Tuscan Pots guarantees all of its Impruneta pots against frost, sun or sea-air corrosion for twenty years as long as water drainage is maintained.

It is due to the amazing durability of the clay and its beautiful finish that Filippo Brunelleschi chose to use over four million Impruneta bricks to create the magnificent dome of Florence Cathedral in the early fifteenth century.

A 700-year-old manufacturing process

This ancient creative tradition begins with the clay being hand-moulded into plaster cases. Moulding by hand exerts far less pressure on the clay than modern machine moulding, and this preserves the air holes of the honeycomb structure to remain intact allowing for a greater resilience against frost- damage. This process also allows any pattern to be built directly into the pot, which results in a stronger overall structure.

Once the pot is removed from its mould, it is placed to dry for up to four weeks in a special drying chamber. It is important that the pot dries as uniformly as possible to avoid distortion and cracks; to ensure this, each pot is monitored daily by an artisan. When the pot is dry it is ready to be fired. All our pots are fired very slowly at over 1000°C.

Italian Maiolica Ceramics

A champion of internal and external objects, Tuscan Pots offers an exclusive range of handmade interior Italian maiolica ceramics in addition to its Impruneta collection. These ceramics originate from Montelupo – a Tuscan town which became one of the specialist maiolica production centres in Europe during the late 15 th century – and are handmade by a family of fifth-generation potters who pride themselves on creating these objects with the same styles and philosophies as the original potters from the 15 th and 16 th centuries. Each piece is unique due to the intricacy of the artistic process and design.

Service

As a family-run business, Tuscan Pots aims to provide the highest quality of personal service available. Their Oxford showroom is open for private viewings only.

Should you wish to book a private viewing please contact Robert at robertmoy@tuscanpots.co.uk.

Founded by Emily Todhunter and Kate Earle in 1998, the Todhunter Earle design studio is renowned for creating beautiful, sensitively considered interiors. From period and new build country houses to contemporary and traditional town houses, from boutique hotels and restaurants to ski chalets, villas and yachts, we have a diverse international portfolio.

Our Ethos

To us a happy job is a good job. We don’t impose a Todhunter Earle design signature, but rather respond to each individual property: its architecture, location, period, and how our clients would like to live. We always say that a Todhunter Earle interior whispers, rather than shouts, and that we create rooms that feel loved and lived-in rather than showy. What is paramount is how our client feels when they are in their home.

Our Team and how we work

Our studio is based on the top floor of a former warehouse building close to Chelsea Harbour, in London. Our studio team numbers around twenty. Emily and Kate each head up their own design team, but every project has the full approval of them both. We run a happy and relaxed studio and like to think that this is just one of the reasons why our clients feel at ease through a design journey that can sometimes be both time-consuming and complicated.

We usually work on fifteen to twenty projects a year, from light renovations to complete refurbishments and new builds. Most of our clients have returned to us again and again, kindly introducing us on to family and friends.

We often design bespoke pieces of furniture, lighting, fabrics, rugs and even door handles for our projects.

Quite uniquely, we work with a talented watercolourist and their artworks are integral to our design process. We begin a project by working with them to translate our ideas onto paper as perspective drawings, to give a sense of standing in the finished room and explain the design intention. These drawings are used as blueprints by every contractor engaged on a project.

In October 2021 our book, Modern English, was published by Vendome Press.

Find out more at www.todhunterearle.com

Website: https://janeybutler.co.uk/

Telephone: 01242 357102

Email: hello@janeybutler.co.uk

Address: The Limes, Bayshill Road, Cheltenham, GL50 3AW (strictly by appointment)

Instagram: https://www.instagram.com/janeybutlerinteriors/

Pinterest: https://www.pinterest.co.uk/janey_butler/

Janey Butler Studio is a team of talented interior designers and architects who together create beautiful homes.

Janey is renowned for her exceptional signature style which combines unique natural elements with contemporary design. Each season she personally selects the very finest innovative design pieces from suppliers around the world.

The studio collaborates with the finest craftspeople, artisans and suppliers to create beautiful luxury interiors for their client’s homes.

Projects range in scale and style, from large country residences to bespoke new build homes. Each project is influenced by the original character of the property, its location, and the clients’ lifestyles and specific needs.

The Cotswold- and Cheshire-based luxury design studio is recognised globally for its unique designs and award winning projects.

Recent accolades include ‘5 star Winners for Best Interior Private Residence’ at the 2023-2024 International Property Awards for their Manor House project as well as ‘Best Global Interior Private Residence’ and ‘Best UK Interior Private Residence’ at the 2020-21 International Property Awards for their Lake View House Project.

See more at janeybutler.co.uk

Website: https://studioindigo.co.uk/

Telephone: +44 (0)2073491290

Address: Unit 37 Chelsea Wharf, 15 Lots Road, London, SW10 0QJ

Instagram: https://www.instagram.com/studioindigoltd

LinkedIn: https://www.linkedin.com/company/studio-indigo-interior-design-ltd

Pinterest: https://www.pinterest.co.uk/studioindigoltd

With over 15 years’ experience, the studio is renowned for its award-winning architecture and crafting story-laden spaces that are deeply tailored and bespoke. Our multi-disciplinary approach seamlessly integrates Architecture and Interior Design, fostering a creative cross-pollination that guarantees buildings and interiors are realised to the highest-level detail. 

We understand context, architecture, comfort and space, with a strong belief the good interiors are the result of intuitive architecture. Every project is a unique design journey, a creative and imaginative exploration that is surprising and fun where our style is to listen and engage.

OUR APPROACH

Unbound by stylistic constraints, we are always inspired by a projects’ setting and respectful of its past as we integrate location, architecture and heritage, resulting in timeless and characterful spaces.

While London is our home, our global presence is supported by our agile attitude and large, versatile workforce capable of bringing projects to life anywhere in the world.

A COLLABORATIVE TEAM

Found by Mike Fisher in 2005, Studio Indigo has grown into a team of 50, earning accolades and a global reputation of bridging the gap between architecture and interior design. Our diverse team hailing from twenty countries and speaking seventeen languages, creates an inspiring environment. Their passion, care, thoughtfulness, and talent are why our work exudes character and design excellence.

Collaboration with our clients, contractors and artisans is at the core of our design process, fostering excellence that pushes boundaries and enriches our client’s lives.

A RICH EXPERIENCE

Our diverse portfolio spans residential, commercial and yacht projects, offering a rich combination of experience and vibrancy. Working in projects both urban and rural settings, including the Cotswolds, Somerset and Surrey, we have a deep understanding of heritage and historical buildings. Our in-house conservation specialist ensures careful consideration of the intricacies of these buildings.

Our book, Studio Indigo: Architecturally Creative Interiors, was published in 2022 by Vendome Press.

Website: www.tamsynmason.com

Telephone: 07736 555750

Address: AppleshawHampshire

Instagram: https://www.instagram.com/tamsynmasondesign/

Ethos 

Tamsyn Mason Interior Design Studio creates beautiful and elegant interiors that respect the architecture of the space and reflect the owner’s individual style. With a focus on architectural detail Tamsyn works with space and light to design layouts and rooms that flow and enhance the client’s lifestyle. This gives a base on which to build layers of depth and interest through colour and texture. Tamsyn sources bespoke furniture, fabrics, lighting and antiques for specific spaces so that every project is truly individual. “My role is to understand my client’s individual style and preferences, work with their vision and design an interior which reflects the best version of this - to ensure they don’t just like every aspect of the finished project, but that they absolutely love it”.

Background 

Tamsyn established her design studio in 2006. She trained at the KLC School of Design in Chelsea, following a previous career in corporate strategy at De Beers which took her round the world including a three-year posting to South Africa. This love of travel and an interest in antiques and textiles informs many of her designs. With a keen eye for detail Tamsyn ensures all decisions are considered and deliberate - from skirting boards and plaster moldings for cornices, to lighting schemes and room layout.

“Being involved early on in a project is key to ensuring that essential elements of an interior space are incorporated and carefully considered - the flow between rooms, the best use of a space and its layout, the lighting and interior architectural details, such as window and door style, all create the most important foundation for any successful finished design”.

USP 

Tamsyn’s approach is always to work in a highly collaborative way and to take time to understand each client’s individual style and day to day lifestyle requirements.

With a unique ability to bring floor plans to life for her clients, Tamsyn helps steer them through the building process and ensures the practical elements of interior space planning are considered at every stage. The result are homes which make the best use of light and space and are beautiful and balanced.

Website: https://www.johnevansdesign.com/

Telephone: 0121 233 9041 or 0207 252 2392

Address: 19/20 New Concordia Wharf, Mill Street, London SE1 2BB ----------- Victoria Works, 16 Vittoria Street, Birmingham B1 3PE ---------------

X: www.twitter.com/@jevansinteriors

Facebook: https://www.facebook.com/JohnEvansInteriors

Instagram: https://www.instagram.com/johnevansinteriordesign/

LinkedIn: https://www.linkedin.com/in/johnevansinteriordesign/

Pinterest: https://www.pinterest.co.uk/johnevansdesign/

John Evans Interior Design, headed by John, is a team of talented designers with skills across multi-disciplines such as interior design, furniture design, architectural technology, and graphic design, all with a wide range of experience and capabilities dedicated to providing the best in luxury design. 

Their extensive portfolio of interior Architecture & Design spans high end residential, including a wide range of private leisure, swimming pools and spas through to commercial interiors, in conjunction with our sister company (je+1). 

John Evans believe in building strong relationships with their clients, working closely with them allows the studio to ascertain their requirements and establish a clear brief from the outset. In doing so their clients trust them to advise and deliver a perfect interior within the intended budget, avoiding unnecessary costs or delays. 

The team recognise that, every project is different, requiring creativity, functionality, attention to detail and finish. 

As designers John Evans believe the more elements that they can design and advise their clients on, the more complete and coherent the end result. With this in mind, John Evans like to design as many of the interior details as possible, including architectural details and built in and free-standing furniture, as well as producing lighting and electrical layouts.

An important factor in the success of any project is the co-ordination and engagement of consultants. Over the years, they have developed a network of solid working relationships collaborating with industry recognised Architects, Consultants and Contractors which they are happy to bring together on the client’s behalf.

For further details please contact John Evans Design on info@johnevansdesign.com or call 0121 233 9041

Our Story

In a world where products are rarely made to last, we create objects to be loved for a lifetime and more. Inspired by the beauty in the natural world, we transform the ordinary into the extraordinary, with a design language that pushes boundaries through our use of innovative techniques and materials.

Founded in 1988 by Andrew and Sarah Hills, Porta Romana has continuously grown and evolved. From humble beginnings in a tiny London workshop, to creating a lighting installation for the Royal Academy of Art, we have designed iconic pieces for countless homes, galleries and hotels.

For further information please visit portaromana.com

Website: https://mdfskirtingworld.co.uk/

Telephone: 0121 328 2179

Address: Unit 25 Gravelly Industrial Park, Thompson Drive, Birmingham, B24 8HZ

X: https://twitter.com/skirtingworld

Facebook: https://www.facebook.com/skirtingworldltd

Instagram: https://www.instagram.com/skirtingworld/

LinkedIn: https://www.linkedin.com/company/skirting-world-ltd/

Pinterest: https://www.pinterest.co.uk/skirtingworld/

At Skirting World, the team pride themselves on leading the home improvement industry with their UK manufactured skirting boards and architraves.

You can see more of their work on their social media channels above, or watch their videos at YouTube and TikTok.

Expanding Product Ranges

The company is known for their huge range of designs available in skirtings, architraves, dado and picture rails. However, they are constantly adding to the product catalogue with the likes of interior doors and wall panelling options.

Free Delivery As Standard

Skirting World offer free delivery on every single order as standard – you will also get the order within just 5 working days. If you require the items faster, they give you the option to upgrade to a super fast delivery service which will deliver your order within just 2 working days.

Recently, Skirting World have invested heavily in their own fleet of delivery vehicles and in-house drivers. This has allowed the brand to move away from third party couriers and become accountable for the delivery service. They have been able to deliver over 98% of orders using their own vehicles and vastly improved the level of customer satisfaction due to their tracking and communication systems throughout the entire ordering process.

Unmatched Customer Service

The reviews say it all. Skirting World are known for prioritising their customers, and wouldn't be where they are today without this approach. Their customer service and aftercare is an area where they constantly strive to surpass themselves.

Best In Class

The materials they source and machinery they invest in is the best available. No corners are cut when it comes to the manufacturing process.

These investments allow Skirting World to create high end products and streamline their in-house processes to make them more efficient as a company and pass on these improvements to the customer with better lead times and superior quality finishes.

Find out more at mdfskirtingworld.co.uk

Website: https://www.woolfinterior.com/

Telephone: 01225 445 670

Email: studio@woolfinterior.com

Address: Broome House, Bath BA1 5HF; and 28 Ruston Mews, London, W11 1RB

Instagram: https://www.instagram.com/woolfinteriorarchitecture/

WOOLF is an award-winning, accredited Interior Architecture & Design practice with studios in Bath and West London, creating unique private residences and hotels.

Our practice has years of expertise, sensitively designing for historic and listed interiors, both in the UK and abroad.

We bring a richness and elegance to period and contemporary houses and hotels.

Find out more at www.woolfinterior.com

Website: www.hollandgreen.co.uk

Telephone: 01844 390 381

Address: 91 Wimpole Street, Marylebone, London W1G 0EF And Masters Court, Church Road, Thame, OxfordshireOX9 3FA

X: https://twitter.com/hollandgreen_

Facebook: https://www.facebook.com/hollandgreenarchitecture/

Instagram: https://www.instagram.com/hollandgreenarchitecture

LinkedIn: https://www.linkedin.com/company/hollandgreen

Pinterest: https://www.pinterest.co.uk/hollandgreenarchitecture/

The Practice and Our Ethos

HollandGreen is an award-winning, multidisciplinary design studio of architects, interior designers, landscape designers and project managers. We craft homes and gardens of distinction across London, Oxfordshire, the Cotswolds and the South East.

With a reputation for timeless quality, discretion, and unrivalled project management, we serve our clients across the whole design and build journey, delivering private homes and investment portfolios ranging from country houses and rural estates to urban townhouses and apartments, villas, spas, equestrian centres and luxury garages.

Our breadth of expertise combining architecture, interior design, landscape design and project management, results in an elegant turn-key service making us unique in what we do.

Ethical design and the creation of buildings to be enjoyed today - and by future generations - is very important to us. We are committed to meeting the RIBA 2030 Sustainable Outcomes initiative delivering projects that vastly reduce energy consumption and are ‘zero carbon’. We also support the UK charity Woodland Heritage on tree planting and forestry education.

Our Design Specialisations

We deliver thoughtfully-considered and innovative architecture, interior design and landscape design. Not constrained to solely one style, we create a bespoke response to our clients’ individual needs whilst considering, and being respectful of, the property’s setting.

Our specialisations include imaginative updates and extensions to existing homes, the reinvention of listed and period houses through sympathetic renovations with carefully integrated contemporary additions, and landmark award-winning contemporary new builds.

Our Service

Our guiding principle is to ensure the early stages of a commission receive the time and focus needed to uncover a design vision which is unique to each of our clients.

Investing this time at the beginning – learning how our clients live, interact, how they move through the spaces and establishing what’s really important to them – this sets each project up for success and pays dividends when it comes to beautifully bespoke designs, project milestones met and budget accuracy.

Since founding the architectural practice in 2010, we have grown to include interior designers and landscape designers alongside our architects, either working on unique projects or in parallel together, and all supported by dedicated project managers.

Our approach is driven by a shared passion to consider the house and garden together from the very beginning - from the first discussions with our clients, we discover the kernel of a design concept which then goes on to inform how the spaces will work, flow and feel. It’s for this reason we have forged a reputation as the multidisciplinary residential Practice.

We have seen how our clients appreciate having one dedicated partner across their projects rather than facing the challenges that come with juggling multiple teams. As well as the benefits from a creative and integration perspective, this saves time, and administration, and gives our clients peace of mind and increased clarity.

Our Practice is at the forefront of interactive, 3D and VR immersive design. Our virtual collaboration platform and online whiteboards enable brainstorming and sketching with our international clients as if we are side-by-side, and our 3D models mean our clients can ‘walk’ around their homes and gardens, making changes to the designs to have full peace of mind before any building works start.

Website: https://musthavebins.co.uk/?gclid=CjwKCAjwt7SWBhAnEiwAx8ZLamXfhTugRlc0cIGvkZalPbZieN4xmAWtbEqznAkkx83ux8itqbJXkBoCNbUQAvD_BwE

Telephone: 020 3744 2384

Email: info@musthavebins.co.uk

Instagram: https://www.instagram.com/must_have_bins/

Pinterest: https://www.pinterest.co.uk/MHBins

Founded 2005, Must Have Bins is renowned for making everyday room essentials exquisite by virtue of exceptional craftsmanship, creativity and stunning design. Masters at bringing style to everyday room essentials, because they know it matters to those who value design, craftsmanship and where every detail matters.

How We Work

By seeking out traditional hand-crafting techniques honed through generations in the great craft centres of the world and pairing them with beautiful designs. We have created a collection of stunning room accessories that adorn interiors for our discerning clients across the globe.

Made To Be Seen

Country-house chic, vintage romance, glorious Japanese design, fantasy flourishes of Eastern art … our bins are made to be seen and just a little decadent. We pride ourselves on creating the antiques of tomorrow, beautiful heirlooms that can be enjoyed today and tomorrow. As we like to say, our bins are just too good to hide!

Ethos

Our philosophy is to make everyday room essentials into forever treasured possessions to be seen, admired and loved as for today and for generations to come. Each piece sings with the authenticity of our artisan makers, handpicked from across the globe, who each boast skills honed over generations.

Boutique and hotel design

We provide bespoke / custom design services for professional designers and offer a range of stunning home accessories for individuals seeking out the perfect finishing touches for a beautiful home. For hotels and interior projects we can finish with your logo, branding, design or any other specification.

Want to find a truly special room accessory for your home? Browse our collection for something that speaks to you at musthavebins.co.uk, or get in touch to talk to us about a bespoke designs to fit your room perfectly.

Website: http://ryijy.uk

Telephone: 01304812625

Email: g.y.s.textiles@gmail.com

Our Story

Karen Garwood-Young, a pioneering hand weaving artist who, ‘paints with wool’, decided to embark on further investigation into the origins of Finnish ‘Ryijy’ textiles, translated as ‘shaggy rugs’. Studying for a textile N D D design at college, she gained the R S A Bursary to study this Ryijy textile in Scandinavia. She has been weaving them since.

History of Ryijy

The origins of this ‘rug’ are clouded in the mists of time. Research, though very scarce, shows ‘rya’ in the oak coffins of the Danish Bronze Age. These, we see saved in museums, are of limited pattern and colour. Yet, thousands of years on, these artefacts are still being made to benefit home comforts in Scandinavia.

Historically a Ryijy is a woollen bed cover woven in similar manner to our tufted carpet, the pile side is placed downward on the bed, or cot, to conserve warmth. The reverse, flat side. uppermost, showing a shadow of the knotted design.

The founder's take on Ryijy

Therefore, investigating pro’s and con’s of these, would it not be possible for us, in the twenty-first century, to have a dual benefit from one piece of craftsmanship? It is not hard to imagine such a textile developed from the knotting of woolen threads, thus resembling an animal fleece. Able to encase heat within the natural wool structure as well as that of the knotting process.

Thus giving warmth, in winter, without the need to switch on the electrical supply.

Karen’s present day Ryijy are the products of many hours work. Still woven by hand in traditional Finnish manner on foot looms, based on the original measurements of a Scandinavian 15th -16th century double, or single bed.

Even children’s cot size for a family to treasure for the next generation. Developed, for modern living these Ryijy of the twenty-first century, show extraordinary colouring of abstract design which can be physically arranged to intrigue the spectator.

Hence, free dual purpose achieved in this unique piece of practical artwork.

Ethical and Sustainable Thoughts

At the recent 26th United Nations Climate Conference being held in Glasgow, more use of wool was considered to help man in his fight against climate change. However, it is not a cheap or easy task, for the home owner, to insulate his home, with wool, or any advertised insulation methods.

Consequentially, there becomes a dual use to this textile. On cold nights, no sleepless meanderings into the early hours or worries of the cost of electricity bills for the future.

Karen uses the Romney fleece, whenever possible. The considered use of wool, certainly helps man’s fight regarding climate change. Sheep's wool is a natural insulator, sustainable, breathable, user-friendly, dampens sound, yearly renewable and is fireproof. That being so, these unique ‘tapestries’ hanging on walls in the warm seasons where it helps to achieve an effective balance of temperature and humidity within our homes.

When summer arrives the upper (pile) side of the Ryijy is then displayed, on a wall. Draught or, tactile disturbance, can change the surface; when you return, each viewing will take one on another journey. Each tells a story; has an essence, a theme.

Should you wish to know more I would be prepared to discuss any personal requests on Ryijys should you have any questions, contact me on g.y.s.textiles@gmail.com.

Website: https://matthewburt.com

Telephone: 01747 820511

Email: showroom@matthewburt.com

Address: Matthew Burt Furniture, High Street, Hindon, WiltshireSP3 6DR

Instagram: https://www.instagram.com/matthewburtstudio/

Who, when, where and why?

Matthew and Celia Burt started their company in 1978 from a garden shed in Wiltshire. From the outset, their mission was to create furniture to a superlative standard, supporting sustainable working practices through the use of British timbers, and with a focus on providing training and employment in the Wylye Valley. This is how the business operates to this day, with a deep and committed respect for the natural world, and the incomparable beauty of wood, and an ongoing commitment to the passing on of skills, ancient and modern, to a team of apprentices and master makers. The practice now operates from a purpose-built design studio & workshop and a showroom in the village of Hindon, less than five miles from the garden shed where it all began.

“Exquisite… ” Susan d’Arcy, The Times

Our style

Matthew’s style is unlike any other, distinctive and contemporary but always with an eye on past techniques and aesthetic traditions, ensuring his designs are supremely modern but offering a longevity of quality, function and form. His aim, ultimately, is you buy once, you buy well.

Our work

Most of our work is for bespoke commissions, of all sizes, for individuals and institutions appreciative of Matthew’s independent approach and instinctive understanding of how to create pieces that will be treasured forever. From dining rooms, studies and Alpine chalet interiors to benches in the Ashmolean Museum and chairs in the permanent collection of the Fitzwilliam, our work is designed and made for posterity. The finest pieces from the finest woods.

We also have a made-to-order Collection: a choice selection of classic pieces we’ve been asked to make many times over the years. They are born from an existing design template but we like to tweak to ensure the perfect fit for each individual client. Lastly, we enjoy creating our range of smaller items, such as our exquisite ‘Urchin’ boxes or the mysterious ‘CUBED’, which foxes and delights in equal measure. We have trays, key cabinets, wooden platters…A very personal service We are proud of our independence and remain dedicated to ensuring our clients only ever deal with us directly. Bespoke, made-to-order or off-the-peg, the only place you can purchase Matthew Burt Furniture is from Matthew Burt.

Awards and Fellowships

Matthew Burt is a multi-award-winning designer/maker, holds numerous prestigious Guild Marks and is a Fellow of the RSA and of the Society of Designer Craftsmen.

Website: http://www.charlesedwards.com/

Telephone: +44 (0)20 7736 8490

Email: enquiries@charlesedwards.com

Address: 582 King's Road, London SW6 2DY, United Kingdom

Instagram: https://www.instagram.com/charlesedwardsltd

Charles Edwards has an exclusive collection of hand made lanterns and lights characteristic of the English Country House style.

All designs are available in a wide range of finishes and any paint colour.

Alongside the made-to-order collection the in-house designers work closely with their talented craftsmen to produce completely bespoke designs.

See more at www.charlesedwards.com

Website: www.sofasandstuff.com

Telephone: 0179 8300353

Email: advice@sofasandstuff.com

Address: The DairyTripp Hill Farm BuildingsTripp HillPulboroughRH20 1ER

Facebook: https://www.facebook.com/sofasandstuffonline/

Instagram: https://www.instagram.com/sofasandstuff/

With 70 years of family heritage in the furniture industry, Sofas & Stuff has the knowledge and expertise to guide you to your perfect sofa, bed or chair. Design your own sofa, easy returns and a lifetime guarantee are part of the service — and there are 13 showrooms throughout the country.

Website: https://www.charlottestuartinteriors.co.uk

Telephone: 07973 886 152

Email: charlotte@charlottestuartinteriors.co.uk

Address: Stockbridge, Hampshire

Instagram: https://www.instagram.com/charlotte_stuart_interiors/

Charlotte Stuart specialises in interior design consultancy.

Charlotte offers a flexible hourly design service that can inspire, advise and edit the sometimes daunting interior choices that face those embarking on a project, whether they need to get going from scratch, find fresh impetus part-way through, finish things off or simply refresh an existing interior.

By listening and understanding the client's brief, Charlotte can find design schemes and quick solutions, leaving clients prepared to manage their project, within their own timeframe and budget, without engaging in the full interior design service.

Find out more at www.charlottestuartinteriors.co.uk

Henrietta Spencer-Churchill studied Art History in Italy and France before enrolling at the Inchbald School of Design in London for the one year diploma course in 1977. She started her Interior Design business in 1981 having worked for 3 years with Diana Hanbury and Jean Monro.

She specialises in the restoration and refurbishment of period and listed buildings with emphasis paced on conserving their historic value and features whilst bringing them into the 21^st century.

Many of her commissions are abroad which involves the challenges of learning about and incorporating local cultures and trends. She also enjoys working on new build homes and the challenge of adding architectural details and character to them.

Having been in the trade for over 40 years Henrietta has extensive knowledge of working with reliable, talented tradesmen and craftspeople from custom plasterwork and joinery to one off pieces of furniture and decorative finishes.

“Every job is a new challenge and learning curve, a bit like a new hand of bridge and I very much embrace working with the clients to ensure the end result reflects their lifestyle and expectations," says Henrietta.

"Coming very much from an historical and classical background with a love for architecture, my main aim is to respect the style/period of the home and to retain as many original feature as possible whilst making it practical and liveable for todays every changing encounters.”

Our shop in Woodstock, Oxfordshire has been in the same location for 40 years and has an extensive resource library of fabrics, wallpapers, carpets etc as well as antique furniture and accessories for the home. We work with local tradespeople to make all our soft furnishings and custom commissions.

She is the author of 11 books and has carried out many TV appearances and Lectures in the UK and USA where she also has licensing deals in furniture and rugs. Henrietta also has a US company Spencer-Churchill Designs Inc. to facilitate work in the US.

Member BIID, Fellow IIDA, Member of the Decorators Club (USA)