Dogs once knew their place, usually a back room furnished with a plastic ‘bed’, which bore the marks (and odour) of various generations of four-legged forebears. Roaming rights might well have been extended to the kitchen, but not to any of the more formal rooms of the house — and never upstairs.

As their place in the hierarchy of a house has risen from faithful and obedient servant to — in some cases — kingpin, the way houses are decorated has evolved accordingly.

Floor surfaces are chief among them; although terracotta, tile, natural stone and engineered-wood floors can cope, carpet, whether it’s loop-pile wool or woven seagrass, is unsuitable for the daily post-walk muzzle dives — and worse.

Enter the increasingly popular option of faux sisal, which offers the aesthetic warmth of natural fibres, but with the durability, waterproof and stain-resistant qualities of man-made materials. ‘It resists damage from scratchy claws, wet dogs drying themselves and muddy paws and — in most cases— c an be bleach cleaned,’ explains Barney Green, founder of Unnatural Flooring, one of the first to pioneer this method of floor covering. ‘A bonus is that the synthetic yarn we use doesn’t attract or accommodate fleas, pests or textile moths and all our fitted flooring can be easily wet cleaned if necessary.’

Increasingly, dogs in this country, where there is an estimated population of 13.5 million (the highest in Europe), are not content to slumber on the floor; interior designers are discovering that the dogs and their needs are just as important as those of the client themselves.

Witness the fact that elevated interpretations of indoor dog kennels and dog beds have become regular features at WOW!house held each summer at the Design Centre, Chelsea Harbour in London. This year, Henri Fitzwilliam-Lay’s bedroom suite for Misia had a stylish dog bed created by Porta Romana to sit within her Art Deco-inspired scheme. Meanwhile, in Sara Cosgrove’s serene celadon morning room with Phillip Jeffries, a dog kennel sits next to a sofa upholstered in silk. Two words spring to mind: good luck.

To address the inevitable damage, the solution is to embrace a fabric that can withstand such treatment, says interior designer Rebecca Hughes. ‘Engineered for durability, high-performance textiles are designed to withstand everyday wear and tear and resist stains and moisture,’ she says. ‘Better still, many are fully washable, making it easy to deal with muddy paws, pet hair and the occasional spill.’

Advanced synthetic materials, such as solution-dyed acrylic and high-tech manufacturing processes introduced in recent years, have raised these fabrics from stiff and scratchy to soft and barely distinguishable from any natural alternative. ‘They evolved so much that most people would never know they were originally designed for outdoor use,’ believes Gareth Marc of Zimmer + Rohde. ‘You get all the practical benefits without sacrificing comfort or style.’

A further flourish comes in the form of additional plumbing facilities installed just for dogs. The post-muddy-walk hose-down using an outside tap that might have sufficed for generations has been upgraded to a dedicated indoor dog-washing area. Usually located in a utility or boot room and supplied with hot and cold water, these take the form of specially designed dog showers or generously sized sinks. Some have low-level pot-filler taps to keep the dog bowl topped up with fresh water.

Last year, Emma Sims-Hilditch demonstrated how to do it with style at her WOW!house Courtyard Room. ‘It reflects a broader shift towards designing spaces that cater to every member of the household, pets included,’ says studio lead Christina Bull.

This feature originally appeared in the July 22, 2026, issue of Country Life. Click here for more information on how to subscribe.

Tucked away in a pretty Nottinghamshire village, this house was built by a lacemaker who helped to transform Nottingham’s city centre into the global hub of the trade in the 19th century.

The owner approached Emma Wraithmell of deVOL to help create a kitchen that reflected that history. ‘She was adamant that it was about restoring, rather than renovating the space and that would start with using unfitted furniture,’ explains the designer.

During preparation work, an old floor covering was removed to reveal the original Victorian red-and-blue quarry tiles that were once the standard choice for kitchens, sculleries and entrance halls. They informed the colour of the cabinets, which are from deVOL’s Shaker-inspired range and painted in the company’s Refectory Red with worktops in black granite. These are set against lime-washed walls in a warm burnt sienna to give a raw and unfinished feel. ‘The idea was to make it look as if this kitchen could’ve been there for decades,’ says Wraithmell.

A two-oven Aga stands in the chimney breast, behind which is a splashback made in tiles from the company’s Lace Market Tiles in sepia. By the window is a double sink with taps in aged brass. The lace café curtain is another nod to the past; it was sourced by the owner. A plate rack from the company’s Heirloom range, also painted in Refectory Red, displays collections of plates. In the centre of the room is a Victorian prep table, which was also the owner’s discovery.

The Real Shaker Kitchen by deVOL starts from £12,000.

This feature originally appeared in the July 15, 2026, issue of Country Life. Click here for more information on how to subscribe.

Casa Bonavita is very much a family affair — a hotel that feels like a home, but that you wouldn’t dare to call ‘a home from home’ — unless you happen to live in an immaculately decorated, 18th century Maltese palazzo.

The owners are Suzanne and Christopher Sharp, founders of The Rug Company, and before Bonavita opened as a hotel, it operated as their occasional home. Their daughter Sophie's pottery and son Jamie's antiques fill the space.

There were a myriad things to consider when they set about turning a home into a hotel, including planning for everyone taking a shower simultaneously. However, the couple’s flair for interior design and decor has always been innate. ‘Suzanne has the ability to create interiors which are both inspiring and comfortable, and there were constant discussions about… how to get the balance between functionality and design,’ says Christopher. Even when Bonavita is fully booked, there are quiet corners to escape to — with an expertly mixed negroni.

A huge number of craftspeople and artists were involved in the six-year project, but a consistent vision and the couple’s collection of fabrics, furniture, paintings and lighting, collected over the years, helped pull everything together. ‘In many ways, Casa Bonavita is an accumulation of a lifetime of visual memories, brought together to create a place that feels familiar, lived-in and deeply personal,’ says Christopher.

Textiles and artisanal works sourced from throughout the Mediterranean are complemented by antique treasures including a Genoese cabinet, packed with ceramics. One of the dining room’s walls is hung with joyfully-hued art, while a botanical mural by Italian artists Alfonso Orombelli and Luna Aulehla Greppi covers the other.

The Valletta Bar’s walls have not been left behind and are enveloped in a bespoke, hand-painted vista of 17th-century Valletta, by de Gournay. The kitchen is tiled in Sicilian slabs and the grand entrance hall boasts a frescoed ceiling.

The seven bedrooms and suites in the original house (Suzanne and Christopher bought it 15 years ago before purchasing the neighbouring house and land) share high ceilings, but are all unique in design. Suite 5 is located in the former chapel and comes with a private terrace and a statement bathroom featuring a domed ceiling and marble bath. Suite 4’s bathroom is equally impressive with its floral fresco framing the bathtub.

There are five further bedrooms and suites in the Dower House, which can be booked on an exclusive-use basis. This newly built structure fits seamlessly with the existing buildings, accessed via the verdant garden. The building's courtyard centrepiece is a swimming pool atop a subterranean spa. There are more rooms in the former stables and a soon-to-open, stand-alone suite (The Folly) whose lucky guests will be able to brag about their private garden, plunge pool and one-of-kind oval-shaped bedroom.

The ceramics — from monogrammed red dinnerware to statement lamps and urns bursting with fresh flowers — are all painstakingly made, 500 metres away at Villa Bologna, a historic estate that has been home to a pottery studio since 1920.

Back in 2020, Sophie took over the running of the studio and reinstated archival designs. Each piece has a charming story behind it, but few can beat her own tale of growing up with Villa Bologna ceramics filling her home and one day not only owning the business, but supplying her parent’s hotel in the same village.

Art bleeds into the outdoor spaces of Casa Bonavita, too. Between the honey-hued buildings and the palm-and-bougainvillea-framed pool, a vast garden unfurls, studded with ancient columns, statues and fountains.

Christopher nurtured the garden himself: ‘The vision was to create a series of secluded spaces through generous, layered planting, allowing the garden to remain on the edge of wildness while still having structure.’

Plants were chosen with the climate and seasons in mind so that there is something beautiful to look at year round. Once again, this acute sense of care lends itself to a family home; Christopher was dead-heading geraniums when I spoke to him — not your typical proprietor.

Red Savannah can organise four night stays at Casa Bonavita from £2,195 per person, on a bed and breakfast basis. The price includes private airport transfers from and to Malta airport, and return economy flights from London Heathrow to Malta (including a checked bag).

This is the third part of our series on the experts' experts, in which we spoke to two dozen members of the Country Life Top 100 about the artisans, dealers and writers whose work and wisdom have played a huge part in their careers. The previous instalments saw them name the greatest craftspeople working in Britain and the best furniture designers.

Tim Crump, Oakwrights: I like the look of old painted furniture against the oak frames of our homes, so I recommend John Cornall Antiques, Warwickshire, who has simple painted pieces, occasionally, Shaker in style, which are hard to find in the UK. Although not an antique dealer, Shaker of Malvern, Worcestershire, makes beautiful Shaker furniture—which will be the antiques of the future.

Meg Boscawen: Katie Turton, the founder of Perpoli, has an eye for sourcing truly special pieces and a natural talent for uncovering objects with character, history and soul.

Edward Smith, Artorius Faber: Jack Laver Brister always seems to have some interesting things.

Chloe Willis, Sibyl Colefax & John Fowler: Ed Foster and his mother, Val, of Foster and Gane, have an Oxfordshire shop full of interesting pieces, from antiquities to 20th-century works, and I always find something I love. My friend Molly Alexander has opened a store near us on Pimlico Road, London W1, and it is sensational. Strength, restraint and effortlessly chic.

Geoffrey Preston: Su Daybell has a brilliant eye. Her Tetbury shop, Twig, in Gloucestershire, is a place to look for unusual and unique pieces.

Shankar Kothapuram, Tom Stuart-Smith Studio: Darren Jones of Lichen Garden Antiques, Oxfordshire, always finds what you want, even before you knew you wanted it!

Bee Osborn, Osborn Interiors: Liz Morris Decorative Interiors, specialist in French, Swedish and English furniture and interiors, and Martha’s Attic, Oxfordshire, for all kinds of decorative antiques.

Angelica Squire, Studio Squire: We have found some wonderful pieces at Dorian Caffot de Fawes, London NW8, and also eagerly await the Friday drops by Four Quarters Home and Passé The Store.

Hugo Bugg, Harris Bugg: Darren Jones at Lichen Garden Antiques is our go-to dealer. He has an exceptional range of stone and garden antiques, an outstanding eye and sources that are impossible to match.

Lonika Chande: 8 Holland Street, W8, and Sauce, E10, are both wonderful for 20th-century pieces with personality, whereas Lorfords, Gloucestershire, is always a favourite for its breadth and inspiring mix of antiques and decorative objects.

Robbie Kerr, ADAM Architecture: Tim Corfield has been fantastic to work alongside, helping to bring his amazing depth of knowledge to shape clients’ searches.

Francis Terry: I am a huge fan of Will Fisher at Jamb, whom I have known for many years. He has such a great instinct for antiques and a love of classical architecture. He also has immense energy and, together with his wife, Charlotte Freemantle, has developed a wide range of excellent reproduction lighting, fireplaces and other antiques.

Rupert Cunningham, Ben Pentreath Studio: Molly Alexander recently opened the most beautiful shop on London’s Pimlico Road, SW1, a few doors down from her mentor Will Fisher’s great Jamb showroom. Inside you’ll find a beautifully curated blend of 18th- and mid-20th-century pieces.

In a world of Amazon, Netflix, Deliveroo and Hinge, there is little that can’t be summoned with the tap of a few keys, from furniture and films to pizzas and paramours. The result is a collective impatience that has entwined itself with almost every aspect of our lives, including our homes.

For many, the combination of online shopping and social media has turned creating a home into a process akin to Supermarket Sweep, based on poor decisions and little or no product knowledge. It’s a retailer’s dream; enticing backlit images create desire that can be sated with a couple of clicks and three payments on Klarna. It’s also a far cry from the tradition of the trousseau that once existed in many cultures, which was used to collect linen, silver and household goods in anticipation of establishing a home.

• The best antique dealers in Britain
• The best craftspeople in Britain
• The best furniture makers in Britain
• The most inspiring books on architecture and gardens

The combined effect of rash decisions and poor quality is having a disastrous impact on the environment. Little of what we’re now buying is likely to last a decade, let alone be passed to the next generation. Most of it is destined for landfill. Yet we need little reminding of the benefits of both quality and timelessness; historic houses are furnished with pieces that have lasted for generations, not only because they were made with care, but also because they could be maintained and, when necessary, mended. They are integral to houses that owe their beauty and sense of place to evolution rather than revolution.

Online shopping has put even greater distance between the source of production and the end user. It’s one of the reasons why, this week, we publish our annual Experts’ Experts feature, which includes recommendations by designers on our Top 100 list of specialists who put their heart and soul into the goods and services they provide, from stone fireplaces and Windsor chairs to garden furniture and exquisite brass bookshelves, made in rural workshops from Herefordshire to Hampshire.

These carefully crafted pieces are made with materials that don’t diminish with age, but instead develop a patina that lends them a distinctive personality all of their own. Nor will they ever date; quality never does. Better still, they will last a lifetime, not only because they are beautifully made, but because we are more likely to treat them with the respect they command.

Few of the experts listed here will rank at the top of an internet search; instead, their success is based on a mix of word-of-mouth recommendations and a cast-iron reputation for genuine talent. It’s not only craft skills that are the basis of their appeal, it’s trustworthiness, creativity and the wisdom that is only ever attained through experience — qualities that speak far louder than any Instagram post.

The full list of experts' experts can be found in the July 8, 2026, edition of Country Life magazine — and will appear online over the next week. We start with the list of the finest craftspeople working in Britain today, which you can read here.

This leader article appears in the July 8, 2026 print edition of Country Life. Click here for more information on how to subscribe.

Tim Crump, Oakwrights: I ride my bike past Hugh Peachey’s workshop, The Masons Yard in Herefordshire, and it is brilliant to see the beautiful fireplaces he is carving. A clean carved stone fireplace is a great complement to an oak-frame house and Hugh hand creates some fine examples.

Meg Boscawen: Without hesitation, Rupert Bevan in Shropshire. His work spans such a diverse range of disciplines and products, all executed with exceptional raftsmanship and beautifully considered detail. There is a timelessness and elegance to everything he creates that I find incredibly inspiring.

Ben Naylor, Jack Badger: I respect Mike Dennis for his passion for traditional crafts, deep knowledge of historic building techniques and commitment to sustainable, time-tested methods. He also has a remarkable ability to communicate the history and principles of traditional joinery in an engaging and accessible way.

Edward Smith, Artorius Faber: So many, but North Yorkshire-based Linda Fenwick’s shell work is exquisite.

Sarah Vanrenen, Vanrenen Hanbury: Beardmore supplies the most beautiful architectural ironmongery, from cabinet handles to bespoke front-door furniture. Everything is handmade in the company’s foundry on the Sussex coast and the showroom in Chelsea, SW10, is an absolute treasure trove.

Chloe Willis, Sibyl Colefax & John Fowler: What Edmund Le Brun, Flore de Taisne, Nada Debeaumont and the whole team at Ishkar are doing to support Afghan artisans is so important. They have opened a door to brilliant craftspeople, from rug-makers to glass blowers and now embroiderers. I am probably biased, but my mother, Cecilia Willis, produces beautiful bowls and moon jars, which find their way into every one of my projects. Wonderful colours and strong brushmarks.

Geoffrey Preston: Britain has so many brilliant craftspeople, it is hard to pick just one. Instead, I’ll nominate Heritage Crafts, the national charity for historic skills and a great champion of all manner of traditional crafts.

Hugo Bugg, Harris Bugg: Jeremy Weiss of traditional rural skills training and consultancy Proper Edges in Devon is that rare thing: a practical craftsman who is deeply invested in conservation and teaching. Skilled at hedge-laying, hedge banks, gate-making and scything, he now runs hedge-laying courses, too. A laid hedge is a living fence that keeps stock in as well as feeding and sheltering hedgerow wildlife, all without a yard of wire, and a scythe will out-mow a strimmer in a wildflower meadow with no noise, no fumes and no harm to slow-worms or seedheads.

Greg Tirri, RW Armstrong Group: I am blown away by the quality, precision and depth of the work of Mathew Bray of MBMC Studios, encompassing decorative arts, architectural finishes, joinery and furniture.

Shankar Kothapuram, Tom Stuart-Smith Studio: Thomas Rösler works with large pieces of timber in an almost intuitive way. There is much skill involved in his approach and a real sensitivity to materiality that makes the work feel both considered and instinctive.

Angelica Squire, Studio Squire: Gloucestershire-based furniture and cabinetry specialist Ed Keyser is a long-time collaborator of ours; we adore working with him and his team. His attention to detail and skillset make the process and end result a real pleasure.

Lonika Chande: We are lucky to work with many extraordinary craftspeople. Thinking about wall finishes alone, London-based decorative artist John Harragan creates beautiful finishes with real depth and, in East Sussex, Tess Newall’s incredible murals bring huge charm and individuality to a room.

Ross Sharpe, Yiangou: Geoffrey Preston in Devon is a true artist in plasterwork and plaster decoration and a very nice chap to boot.

Robbie Kerr, ADAM Architecture: London-based sculptor, carver and gilder Clunie Fretton really understands materials and every piece comes to life with extraordinary skill. Decorative-arts specialists Mathew Bray and Matthew Collins of MBMC Studios bring so many wonderful crafts together under one roof, all executed to perfection.

Francis Terry: When we were building the new Tapestry Drawing Room at Castle Howard in North Yorkshire, we were nearing the opening date and needed someone to carve the head of Pluto at speed. The amazing Clunie Fretton managed to carve the piece in the required timeframe and, now installed, it looks convincingly like a piece of genuine Baroque sculpture.

Rupert Cunningham, Ben Pentreath Studio: Matthias Garn is a master mason and carver who learnt his craft in his native Dresden in Germany, before settling in York to study under the great Dick Reid. He now has his own workshop and has established himself as one of the pre-eminent craftsmen in the North of England.

There was, in the 1990s, a counter-cyclical knee-jerk among interior designers against fussiness in its forms. The previous decade had been amazing, but quantity had subsumed quality and, suddenly, most inhabitants of fashionable west London postcodes under-took a dramatic decorating detox, painting their floorboards and hanging cream blinds.

The joy was that the look was cheap. A few litres of white paint are so much less expensive than wallpaper, knicker blinds, paint finishes and acres of beige Wilton. The look sparked a new publishing genre: interior books, all with the word ‘simple’ in the title, featuring simple pictures of simple things and text that offered statements of the blindingly obvious. In the USA, the cult of simplicity got its own magazine, Real Simple, which at its peak sold 7.6 million copies a month.

As part of the reinvention of country houses, a new focus on materiality has seen designers and architects paring back houses to their structural framework, revealing stone, brick and beams that a generation ago would have been plastered or carpeted over.

Spaces have been simplified, too, particularly in smaller houses, where removing a wall, pushing into the eaves or opening up staircases can transform the humblest cottage into something quite light and airy. It’s a look that French architects and builders have always understood, especially in the south, where stone farmhouses lend themselves to being unpicked and unpeeled.

It’s an approach to the look that has become a hallmark of estate houses, cottages and pubs, such as The Wild Rabbit at the Daylesford estate in the Cotswolds, where Lady Bamford has been unwavering in carving out her own aesthetic that seamlessly blends texture with modernity.

Never let anyone persuade you that this rural reductivism is simple; reinventing buildings so that they appeal to a modernist sensibility requires clever design, artful construction, ingenious structural engineers and lots of hidden steel beams.

If the technical aspect of the challenge sounds complex, however, it’s not as hard as the spatial planning and sourcing of materials that will add richness and warmth to rooms that could otherwise look austere. Unlike more layered interiors, there’s no hiding behind colour or clutter, nor strategically placed artworks to cover a multitude of sins.

What is refreshing is its honesty; it is blissfully devoid of the pastiche and nostalgia that have been a mark of country houses for far too long.

There's growing nuance to the burgeoning focus on longevity in interior design. Of course, it’s good, vital even, that furniture doesn’t end up in landfill and a visit to a historic house reveals that well-made furniture should never do so.

Yet the appeal is about more than merely avoiding obsolescence; old furniture improves with time and use, gaining character as it passes from one generation to the next, and, when it needs fixing or refreshing, it’s easily done.

Natural materials, such as wood and stone, age beautifully, improving rather than degrading. Many metals do, too, except for iron, which tends to rust and lose strength. In contrast, copper, brass and bronze develop a deep-blue patina over time, ranging in colour from turquoise to green, a process that can evolve over the course of centuries.

Their surfaces oxidise, most memorably on statues and monuments, such as the magnificent dome of St Mark’s Basilica in Venice, echoing its Triumphal Quadriga, four copper horses that were taken during the sack of Constantinople in 1204 and which date from the 2nd and 3rd centuries BC.

In painting, verdigris pigments became highly prized in the Renaissance; artists valued them for their depth and gem-like glow, as demonstrated so beautifully in Vermeer’s The Art of Painting, where the colour demonstrates its supernatural capacity to add both depth and a three-dimensional quality to a one-dimensional representation.

Leonardo da Vinci found it challenging to work with: ‘It loses its beauty like smoke if it is not quickly varnished. It not only goes up in smoke, but if it is washed with a sponge... the verdigris will disappear.’

Because it is the result of an evolutionary process that enhances, protects and improves with age, verdigris has become emblematic of the benefits of timelessness. At this year’s WOW!house (which runs until July 2), it played a key role in the Hector Finch Garden Folly, the façade of which was designed by Adam Architecture’s Darren Price and which featured its sponsor’s new verdigris Zeus lantern.

Given that this highly atmospheric structure came to life in a matter of days, the pervasive sense of permanence is a testament to the combination of classically inspired simplicity and the magical character of this revered finish.

This feature originally appeared in the June 24, 2026, issue of Country Life. Click here for more information on how to subscribe.

When interior designer Vanessa Macdonald and her husband James discovered an unmodernised Georgian property they loved at the bottom of a valley in Oxfordshire, they lost out to a higher bidder, but the memory remained imprinted in their minds.

On a whim, a few years later, the couple posted a note through the letterbox explaining that they would be interested in buying, if it ever came back on the market. The timing was perfect; the owners were looking to sell.

‘Since seeing it for the first time, quite a bit of work had taken place,’ explains Vanessa. ‘The kitchen, which had been at the back of the house, had been moved into the drawing room, resulting in a large open-plan kitchen and dining room. I wasn’t sure about it at first, but we pressed ahead with the purchase. Now, it’s the room where we spend all of our time and we love the lovely light and the views up the valley.’

As a decorative starting point for the dining space, she chose curtains made up in Indhira by Le Manach, a Pierre Frey fabric that is inspired by a 20th-century Indian sari. ‘I first encountered it on a project years ago and fell in love with it. It works in so many spaces — in London and the countryside — and brings joy to a room.’

The walls are painted in Farrow & Ball’s Vert de Terre, an easy green that doesn’t shout, but which she feels adds depth to a room.

The chairs are part of her own collection and the table came from a shop in London’s Lillie Road, but was widened to function as a workspace, as well as a dining table. Above hangs an Arts-and-Crafts-era pendant sourced from Christopher Butterworth.

The curtain is made from a Namay Samay fabric, available through Tissus d’Helene Ltd.

Vanessa Macdonald leads interior design practice Melissa Wyndham. For more information call 020–7352 2874 or visit the Melissa Wyndham website.

This feature originally appeared in the June 17, 2026, issue of Country Life. Click here for more information on how to subscribe.

The words ‘interior design’ mean different things to different people, from colour, comfort and curtains to fabrics, finishes and floor plans. Yet a visit to WOW!house that opened its doors last week demonstrates that in the right hands it can actually be a form of alchemy that magically fuses all these elements together to create spaces imbued with soul.

Atmosphere is there from the start in the Hector Finch Garden Folly; the Size Group Façade designed by Darren Price; and the Artorius Faber Entrance Garden by The Gardenists, where the poise and balance of classically inspired form are built on a foundation of handcrafted materials as well as finishes in the form of Hector Finch’s new verdigris that elevates these distinctive spaces with a sense of timelessness.

The alchemy recurs throughout the spaces: the Turnell & Gigon Drawing Room by Albion Nord top lit by a magnificent cupola; the Benjamin Moore Minhwa Salon by Young Huh, inspired by the Millions Room at the Schönbrunn Palace; and the Salvesen Graham The Collection Primary Bedroom, which oozes both classic comfort and transatlantic glamour.

An enduring memory of this year’s WOW!house will be spaces that resonate with a sense of drama, not only in the atmospheric celebration of decoration, as in the Schumacher Dining Room by Max Rollitt, but also where you might least expect them, such as the Ca’Pietra bathroom by De Rosee Sa and the moody half-light of the hidden bar behind the Romo Speakeasy Salon by Studio Duggan

WOW!house is at Design Centre, Chelsea Harbour, until July 2.

When interior designer Bee Osborn bought a derelict two-up-two-down 15th-century cottage in Oxfordshire, she knew immediately that she’d need to add an extension to accommodate her three daughters when they came to stay.

Attached to the rear of the house, the addition doubled the property’s footprint, creating a large, open-plan living area and kitchen with a principal bedroom above.

The lack of arms on the large, bespoke L-shaped sofa creates extra perching space when required and the sofa is covered in a hard-wearing performance fabric called Freeport by Thibault. ‘I love using these types of fabrics as it means that any spillages can be spot cleaned or the whole covers whipped off and sent for professional cleaning.’

The walls are clad in timber from a local yard and painted in Alfie’s Tail, a pale taupe by Fenwick & Tilbrook. ‘I wanted the space to look rustic and informal to sit comfortably with the older part of the cottage, so I deliberately chose not to have a regular shadow gap between the planks,’ explains Bee.

The artwork was sourced by Art Untamed, an art advisory run by her daughter, Hettie. Each work was chosen to create a ‘tonal symphony’ of her favourite hues. ‘I don’t go in for lots of colours and liken my palette to the bark of a London Plane tree with all its mottled olive greens, greys, browns and creams. It results in rooms that are calm — everything gets on well together — and yet never boring.’

Almost all the furniture was designed in-house, including the cubed ottomans, which fit under the table when not needed. In the corner is a round table by Robert Langford with a lamp from British lighting manufacturer Porta Romana.

This feature originally appeared in the June 3, 2026, issue of Country Life. Click here for more information on how to subscribe.'

Given that Sir Alec Issigonis, designer of the Mini, asserted that ‘a camel is a horse designed by a committee’, he’d presumably have taken a dim view of the Pontiac Aztek, which was designed, in 2001, by a focus group (and which was withdrawn after only four years).

Collaboration and consensus might be the buzzwords of our times, but there’s something dispiriting about anything that is the result of head nodding, especially in the world of architecture and design. Truly great buildings tend to be the result of a single vision. Architectural examples of Gesamtkunstwerk, a synthesis of different disciplines and art forms where the contents were the result of considerable control freakery, range from Robert Adam’s Syon House in west London to Arne Jacobsen’s faintly Orwellian SAS building in Copenhagen, Denmark (he even designed the cutlery).

In between, there were similarly distinctive personal projects, such as Sir John Soane’s Museum, the Kensington home of the Victorian painter Lord Leighton and William Burges’s extraordinary transformation of Cardiff Castle into a Gothic fantasy for the Marquess of Bute.

In the countryside, a garden and parkland were sometimes part of an even more ambitious masterplan. Although there were plenty of later examples to be found in Arts and Crafts, Art Deco and early Modernism, it’s a tradition that has become rare in the 21st century when the process of creating a house has become a shared endeavour between architect, interior designer and client. Except, that is, in the work of François-Joseph Graf, the French architect, designer and art collector, who designed At Sloane, whose talents were enlisted by the Cadogan Estate and the Parisian hotelier Jean-Louis Costes.

The majority of the building’s contents and structure (except its façade) are Graf’s work, creating a spatial and aesthetic coherence you might not expect in rooms heavily influenced by Thomas Jeckyll, William Morris and Charles Rennie Mackintosh in the same succession of space.

Like a cloistered monastery or riad, the leaded windows obscure the outside, encouraging guests to look in rather than out and to absorb the intimate world he has created. Like Soane, he is also a designer who understands that a little mirror goes a long way. Also like Soane, the result is not unhinged pastiche, but something beguiling and exciting, true to T. S. Eliot’s view that: ‘The past should be altered by the present as much as the present directed by the past.’

This feature originally appeared in the June 3, 2026, issue of Country Life. Click here for more information on how to subscribe.

The day before we meet, Butter Wakefield has been speaking to Farrow & Ball’s team at their Dorset headquarters about how she uses colour outside. She seems surprised that they’d be interested to hear from ‘little old me’, but there is surely nobody better suited to the job: Butter has, for more than 15 years, been at the helm of her eponymous garden-design studio; before that, she was an interior designer at Colefax & Fowler, a job she landed when she moved to London from her native USA, where she’d worked at Christie’s. She has, in short, spent her career engaging with beautiful, colourful things, figuring out how they work, both inside the house and out.

Her own home in west London’s Ravenscourt Park is a summation of her years of experience, and you feel it before you’ve even walked through the front door — one painted a green so ebulliently vernal that joy seems to emanate from behind before Butter has even unlatched it, open-armed and beaming.

She moved here with her then-husband in 1991, pregnant with their second baby. Working for Colefax & Fowler at the time, ‘I had a real sense of how I wanted things to be done, but we didn’t have the money to do it all in one go.’ It was, she said, actually rather helpful: ‘It made me understand the value of absolutely everything. When we got some cash together, we could do the next step. Drip, drip, drip — redo a bathroom here, paint a room there, that kind of thing.’

She learned to prioritise and very soon realised that at the top of her list was getting rid of the white paint on the Victorian building’s exteriors. ‘Why would anyone paint anything white?’ she asks, genuinely confused. ‘Especially outside, where it stands out like a sore thumb and looks filthy almost immediately.’ Again, working in stages, Butter began with the back of the house, pairing its London stock brickwork with the lead grey of Farrow & Ball’s Downpipe, a choice she remains thrilled with all these years later. ‘It’s like mascara for the windows,’ she says with a smile.

The front of the house wasn’t repainted until later, when ingressing water from a leak forced her hand. ‘I should have perhaps warned my neighbours that I was about to go a little off-piste,’ Butter laughs, ‘but I was just so over the white stucco on our street that I just went for it,’ colourwashing anything not brick in Farrow & Ball’s Hardwick White (a misnomer, really, because it’s more a chalky grey).

These paint choices form part of what Butter calls the house’s ‘colour story’, something she describes as the ‘direct conversation between the interior of a house and its outside.’ Hardwick White, for instance, is the hue she chose for her conservatory too, evidence that Butter is big on the idea that a house should sing as a whole, as well as in parts: ‘You create views internally, linking rooms through motifs or colours or fabrics,’ she explains, ‘and I believe the same principle applies outside. You should look through the window, whether you’re standing inside or out, and be able to see the two spaces in dialogue with one another.’

In her job, Butter is always taking a read on what’s going on in the rooms that overlook the garden, ensuring the colours complement one another. A significant driver of this, she says, is ‘so that you can pick flowers and bring them inside, knowing they’ll work beautifully.’ Butter — sunny, colourful and full of enthusiasm — is unsurprisingly a great believer in having cut flowers indoors: ‘They’re so good for you, creatively. Working with a vase of flowers is just the nicest thing. And if you’ve got a garden full of them, why wouldn’t you want them inside with you? I’m always trying to convince my clients to pick their flowers.’

Also unsurprising is the garden designer’s fixation with the colour green, which appears in ‘absolutely every room’ in some way small or large, and its ability to both soothe and enliven. This is perhaps best in evidence in her bedroom and bathroom, both of which speak to the sympathetic powers of decorating more generally. After Butter’s marriage came to an end in 2016 and her ex-husband moved out, she very sensibly set about redoing — and in the process reclaiming — those two most intimate spaces. Her bedroom, now a confection of softest sage, neutral linen and — for Butter, at least — relatively little pattern, is a haven of the sort that makes you exhale as you step inside, which was ‘the most important thing’ in those stressful, sleep-deprived days. ‘That room has seen me through my lowest moments,’ she says with the utmost sincerity.

Meanwhile, in the bathroom, Butter swapped robust marble and crenellated mouldings for a scheme infinitely prettier and more feminine, in the form of grass-green wooden dado panelling, Blithfield’s blockprinted Medallions wallpaper (green, of course) and ‘a really fantastic tub’ with antique brass fittings. It is — you guessed it — painted green (racing, this time). Now, emerald majolica and shimmering pink Sunderland lustreware join framed botanicals and mirrors in ebony-stained frames to form a gallery of Butter’s favourite things, admired everyday from her evening bath.

These rooms are, like all the others in the house, an alloy of different aspects of Butter’s personality. It is bright, busy and cluttered, but it’s also perfectly put together. Butter’s jostling shelves and walls are not rammed, but rather arranged with a miscellany of things she loves, whether that’s chromatic, garden-focused Modern British-ish paintings by the likes of John Pawle, Kirsty Wither, Vanessa Bowman and Nick Botting, or the cheery cast of Beswick porcelain Beatrix Potter characters that keep their twinkly eyes over the spare room, papered in Nicholas Herbert’s butter-yellow bunny-dotted ‘Toile des Lapins’ and now largely slept in by her grandchildren. She is refreshingly unsnobbish about what makes her happy.

She can afford to be. Butter’s eye is unerring. She owes much of this to her training at a golden period in Colefax’s history, working at the company’s celebrated showroom on Brook Street with the likes of decorating royalty Imogen Taylor, Roger Banks-Pye, Tom Parr and Wendy Nicholls. ‘It was wonderful,’ she says, ‘and it was terrifying. But if you paid attention you could learn so much.’ She credits her stint at Christie’s beforehand — along with her grandmother’s ‘immaculate’ taste — with ‘opening my eyes to beautiful things, from silver to porcelain, rugs and furniture’, but it was on Brook Street she really learned the principles of scale, texture, colour and pattern.

Desiring more flexibility after the birth of her son Kit — and finding ‘the farm girl from rural Maryland in me calling out’ — Butter left Colefax and found gardening, something she calls ‘the third leg of the stool’ in her life. She trained at the English Gardening School in the late 90s and later went on to graduate from the London College of Garden Design, while juggling the running of her own business with the busyness that comes with four children. It has, she says, ‘been such a happy thing for me’. As with her house, Butter’s own garden is a distillation of both her knowledge and her enthusiasms: water features (‘you’ll never regret having one’) and pollinator-friendly planting (‘it’s all of our responsibility’), products made by, where possible, English manufacturers. And — of course — colour. Her latest ‘thing’ is positioning pots in flowerbeds, providing large and concentrated explosions of excitement at eye-height.

In keeping with the rest of the house, Butter’s garden is loose, romantic and vibrant. The influence of the gardens she most admires — Great Dixter, Sissinghurst, Benton End among them — is keenly felt. Though long and relatively narrow, like so many London plots, the rectangular site is far from conventional, spliced down the middle by a slender, metre-wide sliver of wildflower meadow, whose oxeye daisies and Verbena bonariensis frolic in the slightest breeze, thrumming with the bumblebuzz of buglife. The beds, which spill into turfed corridors either side, are generous and painterly; in spring, when I visit, this means frilly tulips in lipstick shades, geums of peach and tangerine and the sunny-skied froth of Brunnera macrophylla, adrift in a sea of greens of every intensity.

Though she was yet to establish her business when she moved here, Butter — surely inspired by her beloved grandfather, a wonderful plantsman — knew there was a gorgeous garden to be made. It was, in fact, what drew her to the house more than anything, the appeal being its west-facing aspect. I’m surprised; surely south-facing is what everybody wants? ‘No! North is better than south, curiously, as it’s not so dry, and in summertime, you get late sun. East is nice for morning light, but west is best: all the light ends up here at the end of the day. For most of us, working during the week and busy at the weekends, that’s the time we spend in our gardens.’

By summer, of course, the garden will feel like a different room entirely, filled with hydrangeas, digitalis and blousy English roses — Wollerton Old Hall, Bathsheba, Roald Dahl, Gertrude Jekyll and Boscobel — and acid shocks of Alchemilla mollis. The same goes for autumn and beyond. No doubt next year there’ll be something new to enjoy and experiment with. Just as the inveterate decorator in Butter knows a house is never really finished, she knows all too well that this verdant patch of west London is her ‘very own Forth Bridge; you get to what you think is the last thing and then you've got to start again,’ she laughs. ‘If you don’t buy into that, well… where’s the joy?’ And, if there’s anything Butter’s home teaches us, it’s that joy is what it’s all about.

It is a truth universally acknowledged that a person doesn’t realise how inconvenient something is until it’s done better. Nowhere is this more apparent than in our homes. The key that needs jimmying, the door that requires a knack to close, the drawer that demands coaxing: such irritations soon become unfelt. Until, that is, you have a house that works.

The owners of this Victorian house on Warwick Avenue in west London know this better than most. When they bought it, in 1993, the house — spacious, with a beautiful garden and access to an enormous shared private square beyond — made perfect sense. There was enough room for their growing family and fewer stairs than the Hampstead home they were leaving behind. Yes, there were quirks — the windows were leaky, the configuration was a little strange, the spare bedroom was too big and the master had no en-suite — but these were nothing a bit of patience couldn’t counter. And, besides, the handsome property had charm and character.

However, in the late 2010s, a damp problem took hold, creeping ominously through the lower-ground level. The couple, both lawyers, knew the basement was in need of serious attention, ‘and we also knew we weren’t going to put our 25-year-old kitchen back in,’ one of them recalls. They enlisted Marks Barfield, a Clapham-based practice, who are best known for their public projects — the London Eye, Cambridge Central Mosque, Brighton’s i360, the Treetop Walkway at Royal Botanic Gardens, Kew — but behind the scenes have been quietly building a reputation for their low-waste, regenerative approach to residential ones.

‘The original plan was focused largely on the basement,’ says Julia Barfield, co-founder and director of Marks Barfield, ‘incorporating a study, a mudroom, a gym, some wine storage and a new kitchen extension.’ Receptive to Marks Barfield’s inherent ‘greenness’, the couple also began thinking about installing air-source heat pumps to replace the tiny, cranky combi boiler, but as the practice began examining the building’s performance it became clear that simply replacing the heat source wouldn’t fix the heating problem. As one of the owners puts it, ‘there was absolutely no point in doing half a house.’

Before long, Marks Barfield had engineered an extensive top-to-bottom retrofit that not only addressed the damp ingress, but completely reshaped the building’s thermal performance — something the house was in desperate need of because it had little to no insulation. Under the guidance of practice director Ian Crockford, the team started to install breathable, wood-fibre insulation and lime plaster, fossil-fuel-free air-source heat pumps and mechanical ventilation systems, setting their sights on creating a home that performed to Passivhaus standards.

The course of renovations never did run smooth and as they began to strip things back to the brickwork, the architects came across oddity after oddity, and challenge after challenge. At some point in the house’s history, someone had decided to chop chunks out of the roof purlins, a choice which, combined with the four water tanks, each weighing about three tons and dating to the time the house had been cleaved into flats, means that the external walls had started to bow by 6cm. Meanwhile, a dormer window in the attic was discovered to have no lintel and therefore supporting the entire weight of the roof.

The house is Grade II-listed and sits inside a conservation area, so planning alone took six months, and Marks Barfield were required not just to reinforce the roof, but retain as much as possible of the existing fabric. As an outfit interested in circular building practices, this was, mercifully, preferable. In fact, throughout the house, the architects tried to reuse materials wherever possible, while also designing for deconstruction, ensuring that — as Julia says — ‘anything we’ve done can be taken apart, the materials reused by someone else in the future.’

Underneath the basement extension, Marks Barfield installed stainless-steel screw piles, upon which sits a ground beam made from repurposed rolled steel joists. The window frames and 90% of the brickwork were reused; the extension’s Douglas fir exterior, with its subtle psychedelic grain, came from an old carton factory in Devon. In a neat twist, it originates from the same part of west Canada as one of the owners, likely arriving in the UK about 50 years before her.

Where the architects weren’t able to reuse or recycle, they opted for low-carbon solutions, such as a green roof and heritage-friendly, Fineo sash windows, which use a vacuum between the panes instead of glass to achieve thermal insulation that’s as effective as triple glazing. They also operated a ‘host and donor system’, giving steel reclaimed from this house to another one under the care of Marks Barfield in Stockwell.

These choices reflect Julia’s desire to be ‘a good ancestor’, a term borrowed from the title of Roman Krznaric’s 2020 book about ways in which long-term thinking can benefit future generations. Conscious that the building industry is responsible for 62% of the UK’s waste, she and her practice endeavour to work as responsibly as possible. It’s admirable, but it’s also plain common sense (Julia once saved a client £1.65 million by reusing materials). ‘The driver for us is the planet,’ she says, ‘but it’s enormously reassuring that our principles don’t get in the way for our clients.’

Back in Warwick Avenue, common sense has prevailed in a way it definitely didn’t before. By slicing up the enormous spare room, Marks Barfield has created a spacious ensuite for their clients. They also removed a strange, cupboard-like bathroom that once occupied a nearby half-landing, letting the room’s high window pour extra light into the stairwell. A lot of the work — including the insulation and plastering — is invisible, but no less important. While working on the upper floors, Ian noticed that the joists had been hacked apart to make way for plumbing and reinforced them. ‘It’s a miracle the bathtubs didn’t fall through the ceiling,’ he says. However, where the practice’s handiwork is on show (notably in the basement, which is now a cool and airy enclave with enough space for work, fun and family life) it is undeniably pleasing: comfortable, beautiful, logical.

The logic that Marks Barfield has imposed on this house is what makes it special. ‘We could have stayed here for another 30 years,’ says one of the owners, ‘and it would have been fine. But now it is enjoyable — cool in summer, warm in winter. It’s how a house should be.’

The other one tells me about a window that illuminates the junction between the ground and first floors: large, arched and ‘almost chapel-like’, she says. ‘We lived for decades with its strange mismatch of glass panes. Some were frosted, some were patterned, some were plain.’ Now restored to its original design, the window is a thing of unintrusive, low-key beauty. ‘I didn’t realise how nonsensical it was.’ She is talking about the window, of course, though the observation seems to reach much further.

Visit the Marks Barfield website for more information.

After living in this west London Grade II-listed Georgian townhouse for a few years, the owners decided to undertake a top-to-bottom renovation and enlisted the help of Studio Squire.

The lower floor, which is home to the kitchen and dining room, required a reconfiguration to make it work more efficiently for their family of five. ‘My clients love entertaining and think nothing of having 16 over for lunch on a Saturday,’ explains Studio Squire’s co-founder Angelica Squire, who was introduced to the couple through mutual friends. ‘A big part of the brief was to make this room feel cosy, comfortable and liveable.’

Working with such a generous space, she admits, made decorating ‘easy’. The couple already owned lots of good-looking pieces, but some of the upholstery had been subjected to the wear and tear of young children and pets.

Their mid-century armchairs (above) were re-covered in a green printed linen Pineapple Thread by Soane Britain. An ottoman is now in a warm terracotta velvet and the sofa opposite is in a stripe by Guy Goodfellow. Above the latter is a wall sconce by Fiona McDonald.

‘This room lends itself to the existing layout, and it felt almost sacrilegious to remove everything and start again,’ says Angelica. On the floor is a jute rug by Peter Page.

Together with her client, she sourced the print by Tom Hammick, which hangs over the fireplace. It brings jolts of colour into the room. ‘We didn’t want to hang curtains and simply used the existing shutters instead — it not only keeps the room looking youthful and unfussy, but also helps to frame the garden views and draw in colour from outside.’

This feature originally appeared in the May 13, 2026, issue of Country Life. Click here for more information on how to subscribe.

Get 51 issues of Country Life for £150 and save more than 40% with our best offer ever — exclusive to the Chelsea Flower Show.

Receive a bottle of The Grange Classic Sparkling NV (RRP £39) when you subscribe at the stand (PW215, until May 23, offer available to the first 200 UK subscribers).

There are some hotels designed for splendid seclusion with vast televisions for all-day movie marathons, accompanied by room service on repeat. If that kind of luxury is what you’re looking for, well… I hate to break it to you, but the Zetter group’s newest creation — its first in more than a decade — is not for you.

‘We’ve been quite brave,’ says James Thurstan Waterworth, founder of interior design studio Thurstan, which has overseen the redevelopment of six Georgian townhouses into one hotel. ‘We’ve taken out almost all the TVs.’

Such a move is, he admits, ‘a bit of a gamble. I’ve designed everything around the hope that people want to experience their surroundings while they’re here.’ There is, of course, much to see and do in WC1, from gaze at the chocolate-box townhouses of its Georgian squares to visiting its galleries and institutions, the zenith of which is surely the British Museum — mere strides from the Zetter. (In fact, the hotel’s garden wall borders it.)

The museum, home to around eight million objects, has been a lodestar in James’s design process for the hotel. It has been a joy, he explains, to wander its galleries for research — and it’s why the Zetter’s communal spaces and 58 bedrooms and suites are as genuinely eclectic and globally inspired as they are, filled with African and Oceanic pieces, Asian decorative art and more. Cleverly peppered throughout, paintings from the post-war period pay homage to another local inspiration, the late Howard Hodgkin’s studio.

Anyone familiar with Thurstan will know there is a heavy accent on antiques in the studio’s work. Contriving a conversation between historical design and contemporary contexts is, James believes, the most reliable route to genuine atmospheric texture — layering at its most successful. He thinks he has bought more than 1,000 antiques for this project, 2,000 if you count the textiles, sourced all over, from the UK’s rural antiques fairs (Shepton Mallet and Kempton are favourites) to Parma’s Mercanteinfiera by way of auction houses and choice dealers (James cites Will Green among his favourites).

James had already worked with Zetter’s owner (they bought the group in 2021), but this time round was entrusted with overseeing a hotel’s creative direction more broadly, from branding to the website to the entire guest journey. Without the trust and total freedom he has been afforded, James says, ‘all that would have been impossible, not least from a purchasing point of view.’ And it’s easy to see why this is true.

James has been involved with Zetter Bloomsbury from the hard-hat days, almost five years ago, when builders were busy knocking what were two hotels, spread across the six buildings, into one. Even before the rooms themselves had taken shape, he was busy stocking his antiques arsenal, conscious that the auctioneer’s gavel waits for no man. ‘When you see something good, you have to get it,’ he says, ‘even if you’re not quite sure what you’ll do with it.’ Recently, with Thurstan’s 325 square metre storage unit bursting at the seams, the Zetter project was afforded its own depository — and it is only now, as James and his team work towards final installation ahead of opening, that he is working out exactly what will go where.

It’s a process that reminds him of his early days working at Soho House two decades ago, a company for which he would eventually serve as European design director. Working on hotels, they would install instinctively and in situ, a process he found totally ‘invigorating — and a great reminder that overthinking leads to sterility. You have to be able to react to a space, to see how things work, or don’t.’ The idea that you could buy a rug four years in advance and never play with where it might live feels wrong-headed to James, removing spontaneity — and therefore spirit — from the process.

Naturally, with experimentation such as this comes the possibility of disappointment — one of the inherent challenges of sourcing antiques. James is all too familiar with the realisation upon receiving textiles bought at auction that their condition is not quite as described, just as he is with so-called scale fails, recalling the excitement of winning an 18th-century oak chest of drawers that was to become a ‘perfect’ bedside table, only to discover, too late, that it was six inches tall, likely made by an apprentice to showcase their skills. While miniature furniture is destined only for a doll’s house, at least slices of moth-eaten rugs can be salvaged, with a bit of imagination, for cushions and the like.

Such ingenuity is, in fact, a key quality for an antique hunter — and James’s own has served him well in this project. When it came to the bar at Zetter, for instance, James was adamant he wanted something vintage, but after trawling and trawling, he had to admit defeat. Nothing beautiful was big enough. Then he had an idea: why not recreate something? Searching his stores, he lit upon an 18th-century chinoiserie cabinet which he redesigned on a grand scale before taking it to decorative crafts specialists Faberby Studio, who over the course of 18 months painstakingly replicated the original’s craquelured lacquer. Another invention with which James is particularly pleased are the lampshades he fashioned from a 19th-century mosquito net that had been lying around the Thurstan offices ‘with no purpose in mind whatsoever’.

While there is a multiculturalism to Thurstan’s design language, James has also been careful to source lots of English — specifically Georgian — pieces for this project, underscoring the tonal shift that the opening of Zetter Bloomsbury heralds. Where the group’s older hotels in Clerkenwell and Marylebone have a more Victorian design vocabulary (rich colours, heavy drapery, sumptuous upholstery), James has begun to shape a ‘loose Georgian townhouse concept’ for the brand. The emphasis, he explains, is on ‘loose’: he feels strongly that slavishness is to be avoided at all costs, not least as the 18th-century collectors he has held in his mind while dreaming up these schemes ‘would have had pieces from across all eras’.

Crucial to the concept’s success is, James believes, ‘a sense of fun’, but there’s a need for flexibility too; as the interior designer says: ‘Antiques do break’. Happily, his client understands that ‘one or two might fall by wayside’ over time. ‘I don’t mean to be blasé,’ James says simply, ‘just realistic. Things will change.’ Of course much at Zetter Bloomsbury has been designed with practicality in mind, but James’s biggest priority — and challenge — has been to make these considerations feel invisible. ‘We have treated this project exactly as we would someone’s house,’ James says. ‘That’s what makes a room feel truly comfortable.’

Of course there have been friction points — fabrics have to be fire-treated, and for every well-worn beauty there’s a workhorse of a sofa that can handle the weight and wear of ‘ten people a day, 365 days a year’ — but you wouldn’t know, such is the emphasis on individuality that runs through every space. ‘I don’t want people to feel that they’re in just another hotel room,’ James says when asked what he hopes people will feel when they visit. ‘I want the things that surround them to spark a conversation. I want people to know where they are, rooted in place and time.’ It’s a tall order for a hotel, but when each room is a jewel box all its own, it feels possible. Inside each one — part sanctuary, part salon, pure Thurstan — I’m willing to bet you won’t miss those televisions.

Click here to read Will Hosie's full review of The Zetter Bloomsbury.

One of the many joys of collaboration is that the whole is always greater than the sum of the parts. So when Country Life asked the architect, George Saumarez Smith, to design a garden lover’s library at this year’s Chelsea Flower Show, it precipitated a chain reaction.

First, he drew all three elevations by hand, complete with architectural detailing, wallpaper, and artwork on the walls, creating a trompe-l’œil that included a long view through a window to an imaginary folly. The result celebrates his love for both drawing and classical architecture, as well as his fiancée, Jane Kennerley's, passion for plants.

To bring the space to life, he worked with Watts 1874, the furniture brand Munders Skiles and Artorius Faber, the specialist in British stone, who gave shape to his designs for a floor, fireplace and a pair of magnificent obelisks.

If there is a theme that is central to this project — and which George Saumarez Smith expresses so eloquently — it is the creative possibilities of the human hand. Everything in the space was conceived with both pen and pencil, an art form that is becoming increasingly rare with the rise of digital technology.

Drawing is at the heart of his work, both designing new buildings and bringing old buildings to life — as well as recording the grammar of classicism that he explored in Sketchbooks, which was published by Triglyph in 2021. The result is an exciting project that draws together the passions he shares with Country Life as we approach our 130th year.

The Country Life ‘Garden Lover’s Library’, designed by George Saumarez Smith of Adam Architecture, is at stand PW215 at the RHS Chelsea Flower Show, May 18–23.

To celebrate, you can buy a year-long subscription for £150 and save more than 40% on the cover price. International offers also available. Until May 31.

The first 200 subscribers at Chelsea will receive a bottle of The Grange Classic Sparkling NV, worth £39. Rated 94 points by Decanter magazine, this premium sparkling wine from Hampshire was described in Country Life as ‘the connoisseur’s choice’. Offer available with subscriptions for UK delivery only.

When American couple Linda and Ory Eshel bought their home near Paris, the kitchen was nothing to write home about with its outdated cabinetry and insufficient storage space. The solution? To bring in Pierre Pensec of Neptune Paris, who created a modern cooking space using custom cabinetry that seamlessly blended in with the historical parts of the property, and with their inherited items of furniture, including an American enamel kitchen table, from the 1920s.

Linda and Ory were keen to colour match their new Neptune Henley cabinets to the original floor tiles which date to 1914, and landed on a warm and buttery shade of yellow called Saffron.

‘We debated a long time about the yellow and were worried it would be too strong for such a small space,’ says Linda. However, almost from the outset, it was clear that they had made the right choice. ‘We love it,’ she says. ‘We especially appreciate the warmth of the colour scheme under the grey skies of the winter months.’

According to Neptune, more and more of their customers are requesting yellow kitchens, something that Pierre, and many other designers, attribute to people using their own homes to feel positive and energised. An antidote to the outside, topsy-turvy world.

‘Yellow feels particularly relevant at the moment because people are looking for interiors that feel uplifting and optimistic,’ says Hattie Hansard, interior designer at Joanna Wood. ‘There’s also something inherently nostalgic about yellow — it has a familiarity that feels both comforting and joyful, but also quite brave.’

You don’t need oodles of space for your good-feeling cocoon. In fact, small spaces are often the perfect places in which to make bold decisions, according to interior designer Nicola Harding. ‘A small space demands you get especially creative, to give it personality and purpose beyond the sum of its footprint,’ she says. ‘Yellow prompts us to smile in a space that might otherwise be dull.’

However, yellow should be used with care. Pierre recommends opting for softer, richer yellow, instead of anything too bright or acidic. ‘Shades like saffron, ochre or muted buttery tones work beautifully because they add warmth without overwhelming the room,’ he says. ‘They also respond well to natural light, creating a cocooning effect rather than making the space feel stark or overly vibrant.’

Balance is also key and Hattie suggests pairing yellow with neutral materials such as woods, linens and stone to temper it. ‘Lighting should always be considered carefully as yellow can shift quite dramatically depending on whether it’s seen in natural or artificial light,’ she adds.

And on the topic of light, yellows work particularly well in darker rooms by helping to life the light levels, as seen in the pantry of this barn project, by the multi-disciplinary architecture and design practice HollandGreen.

‘We wanted the pantry to be an unexpected and joyful moment,’ says the firm’s interior design lead, Tori Young. ‘The key was finding the perfect shade; Hay by Farrow & Ball is a gentle yellow that works in harmony with the historic timber beams, adding character without being overwhelming.’

The interior designer and antique dealer Max Rollitt is a fan of yellow in bijou bathrooms: ‘‘They’re especially good when combined with sparkly or shiny elements, like nickel and mirrors. It’s so dependent on the setting and the light in a room that we don’t have a “go-to” yellow as such, but Sudbury Yellow and India Yellow, both from Farrow & Ball, are wonderful colours.’

Yellow, of course, isn’t your only option. When a small room comes with added complications such as sloped ceilings or wonky corners, interior designer Christian Bense goes by the mantra that a single colour wash is always best. He drenched this guest cloakroom, in a country cottage project, in a vibrant pea green. ‘The room always feels fresh and bright, even on the rainiest of Somerset days,’ he says.

And, if you want a pop of sunshine as opposed to a full-on glare, Ruth Mottershead, creative director at Little Greene, suggests working with wallpapers with subtle elements of yellow — or using yellow as a colour highlight on woodwork, a door or skirting boards. 

‘Heritage craft’ suggests a bucolic mix of rural skills; corn dollies alongside, perhaps, saddle making, with a touch of blacksmithing; these skills are certainly important, but much heritage craft in fact takes place in cities. Surprisingly, it is here that they are especially under threat, partly due to a decline in available workshops and the spiralling costs of those that do exist.

So what constitutes heritage craft and is it by definition harking back to the past? ‘It's about the making, rather than the object that's produced,’ explains Mary Lewis, head of craft sustainability at the Heritage Crafts Association. ‘It’s about the living heritage of the skills, where they've come from, what they mean to our cultural identity, rather than the objects themselves.’

Once the thwack of a hand-stitched leather cricket ball on willow heralded the onset of summer, yet today there is no one making hand-stitched balls left in the UK. It, along with lacrosse stick making and mouth-blown glass making, is now extinct. On the Red List of Endangered Crafts, published by the Heritage Crafts Association (the only UK UNESCO-accredited NGO working primarily in the domain of traditional craftsmanship,) 72 crafts including horse-collar making, glove making, oak-bark tanning, pleat making, piano making, silver spinning and watch making, are critically endangered, with a further 100 crafts endangered.

The criteria are based on the likelihood that the crafts could continue to the next generation. Most of them are in the hands of individuals, who have for one reason or another been unable to make provision to pass them on. Many are practised in families handed down from father to son, mother to daughter. If there is a next generation, they are not keen to take on hard, often poorly paid work and given the public’s lack of awareness that such skills exist, few potential recruits realise that they offer a possible source of employment.

Young people are often actively discouraged from working with their hands. As a visual arts journalist and curator, I have lost count of the number of times I have heard the comment, ‘people who make aren’t really very bright, and that’s why they work with their hands.’ It infuriates me. Making involves intellectual rigour, skill, knowledge of materials and often powerful stories. As AI reduces job opportunities, one of the few areas likely to be immune to redundancies is making and hand skills.

London Craft Week offers the opportunity to see some of these skills in action and to talk to the craftspeople who practise them. In an increasingly digital world, we have a deep need to relate to the world through touch and practical engagement.

Does one endangered skill matter? According to researcher and traditional ‘West-End hand sewn shoemaker’ (cordwainer), Deborah Carré of Carréducker, it does. ‘None of us work in isolation. We’re all part of specialist networks. In our case farmers, tanneries, last makers, tool makers, box makers, material sources. As crafts shrink, so, too, do those networks, causing pinch points in access and supply — making the craft economy even more precarious. In the other direction, this affects pathways for apprentices and practitioners continuing their career. Often, these are family-run businesses, so there is a wider impact on the economy and local communities.’

We now appreciate ecological systems in nature, but they also exist in making. Those lost skills might also be used in new directions. One reason major British brands in ceramics, glass and textiles declined was that they failed to invest in both design and traditional skills. They failed to support the ecosystem and now have no skills to draw on. A classic example is mould making in ceramics. Only six mould makers exist, because British companies didn’t invest in training.

There has been a stronger tradition of supporting tangible heritage—building skills that help preserve buildings and national monuments. However, heritage craft is about more than being merely instrumental in preserving that heritage. It’s about cultural heritage and cultural identity. ‘It’s more a safeguarding angle rather than a preservation angle,’ says Mary. ‘How do we continue it? How is it relevant for the modern day? How are we continuing this cultural heritage? It's not about just focusing on preserving the past. It's a much more active and future focused, future facing process.’

That includes not only traditional British crafts, but those that represent the diverse nature of Britain’s population. ‘We have lots of different communities with different heritages, and we should recognise those as well,’ Mary adds. ‘Our list includes Ukrainian pysanka and petrykivka, because they're under threat in Ukraine. Cultural erasure in its home country.’

Meanwhile, explains Deborah, ‘cordwaining is an amazing craft heritage. A lot of it has gone and, because it hasn't been invested in, it hasn't been looked after and people haven't been exposed to it, so they don't see it as something that's relevant to them or that they could do.’

That was once true for rattan weaving. In 2010, there were only two craftspeople left weaving rattan in England. When their employer closed, Lulu Lytle of Soane Britain realised that these skills would vanish from the UK and took the bold step of opening her own rattan workshop, now employing 19 rattan weavers.

With little Government support to take on apprentices, training new recruits is complicated and expensive. Couture milliner Giulia Mio, an Italian who moved to the UK, makes hats, but specialises in the spectacular flowers that adorn them. She worries about how to pass on her skill. ‘Being a one-woman band based in Leicester, it is not viable for my business to take somebody on permanently, even if only for a short term. There’s too much bureaucracy, too many complications involved.’

Yet heritage craft skills are relevant now and in the future. ‘Heritage crafts people are entrepreneurial and creative,’ says Deborah. ‘Small workshops stress test materiality, shape, structure and scalability, stuff commercial companies don’t do.’ A point taken to heart by passementerie maker Jessica Light. She learnt her craft (a tradition dating back to the Huguenots), in the East End from Wendy Cushing. Jessica established her own business in 2008, focussing on hand-woven trims, braids, fringes and tassels for interiors and fashion, She is now one of just four individual passementerie makers in Britain and the last left in the East End — its traditional centre. ‘A lot of people don't take it seriously. People are quite rude about it, because it's fancy, it doesn't have a function. If I was an artist using it, people would look at it differently, but I just think I will change your mind. I don't do reproduction at all. My thing is to do passementerie differently. I’m taking techniques from the 16th century and moving them on. That's what they always did. They always evolved and changed.’

Making skills are creative and central to the development of our economy. They can be adapted to ensure a relevant sector for the future. Like plants, once extinct, they cannot be re-established. We need that mixed ecosystem for future prosperity.

Visit the London Craft Week website for more information, the full list of partners and the programme of talks, workshop, exhibitions and more.

The best way to get to know George Saumarez Smith is to look at his work. ‘In a way, every time I design a house for somebody else, I'm sort of slightly designing it for myself. With any creative thing there's always a piece of you in it,’ the architect says.

When I look at George’s design for the Country Life stand at this year’s RHS Chelsea Flower Show, it is easy to see parts of him in there.

His love of tradition is reflected in the white and blue colourway, reminiscent of delftware; his predilection for the wacky in the eclectic collection of vintage gardening books that will line the stand’s shelves; his slight neuroses in the neat lines that run through the design as a whole.

George has been a director of ADAM Architecture since 2004 and has worked on everything from country houses to more urban designs.

His grandfather was the leading Classical architect Raymond Erith, who was chosen to rebuild 10 and 11, Downing Street after they had been bombed in the war.

George has passed his love of drawing on to his two sons (the eldest of which is studying architecture) who he shares with his ex-wife. His fiancée Jane Kennerley is similarly creative — he has roped her in to attend to the plants on the Country Life stand.

The couple live apart, but are planning to move in together soon, which may prove difficult as George’s house is hardly sparsely decorated.

His Winchester home demands to be looked at. Black-beige wallpaper in a botanical print serves as the backdrop to a wide-ranging art collection. Silver and gold candlesticks holding slender orange and pink candles fight for space on the large living room table with an army of different papers and books. For reasons entirely unclear to me, he boils his kettle on the floor.

George’s mother was a tapestry designer. His bookseller father also had a big impact on him growing up (hence the many books set to line the shelves of the Country Life stand, and the even larger collection in George’s own home).

‘​​I wanted it to have a sort of antique feel about it. So the rule is the books have to be a minimum of 40 years old. So 1986 is the cut off,’ he says. I pick one up at random. It’s a beautiful gardening book, but somehow it has snuck through the cracks; the publication date is 1994. ‘We can’t have that,’ says George, aghast. I joke that I am sure no one will notice, but he is adamant, ejecting it from the pile with vigour.

George had one older brother, Joe, who died last year ‘much too young’ from a rare form of cancer, aged 53. It has affected him greatly. ‘You just assume that your sibling will always be there,’ he says. At one point when we are discussing Joe he looks as though he might cry. He considers whether this is on or off the record before ultimately deciding ‘it might help to sort of add something interesting to the piece’.

His pain is clearly still incredibly fresh, and his brother's memory is everywhere, but George is throwing himself into Chelsea preparations headfirst. That’s always what his brother used to do with things he loved, George says.

Your aesthetic hero

In England, there's an architect called Andrea Palladio, who is particularly influential — Palladian architecture comes from Palladio. There's a near-contemporary of Palladio called Michele Sanmicheli, who came from Verona, and I think he's my architectural hero. Every building I've seen of his has got that stamp of confidence and quality about it, and he designed a very wide range of buildings. He's my real hero, and I would go quite a long way out of my way to go and see buildings of his.

A book you’ve found inspiring

A book called Venice, by Jan Morris. I think it’s the best travel book ever written. I have my grandfather's copy and the opening two pages of it actually move me to tears. The writing is just extraordinary.

An exhibition that has really impressed you

I don't go to exhibitions as much as I would like, but Jane and I went to an exhibition last year at the Design Museum, and it was all about the Blitz Club. It was amazing.

The last podcast you listened to

I listened to a podcast that's called About Buildings + Cities. There are two hosts, Luke Jones and George Gingelland. They have a very sort of down-the-line, architecture school view on everything, and so I quite like listening to it, because often I will disagree with what they're saying, and I think that it's good to listen to that, because it kind of gives you a sense of balance.

The person that would play you in a film of your life

What I actually thought was, nobody's going to make a film about my life, because it would just be lots of really, really boring close ups of me doing unbelievably slow, painstaking drawings. It would make a terrible film. I don't know who would play me. I don't know enough actors to be able to answer.

The last thing of note that you bought for yourself

I collect lino cuts and cardboard prints by an artist called Sheila Robinson. I recently bought another. Her mastery of the printing technique is just incredible. This is from a spice market in Istanbul. She did a few prints in Istanbul. I think I'm probably the biggest private collector, I've got about 35 of her pieces.

The music that you work to

I think I've got quite eclectic musical tastes, as most people do in the days of Spotify. When I was at school, the art master used to play music over the speakers in the art studio, and so we had no choice over the music that was playing, and he was a big Leonard Cohen fan. It seemed very grown up when we were at school, these songs that were about grown-up subjects sung by a man with a very low, gravelly voice. I really then developed a love for him, and so if I need to really concentrate, it is definitely his music.

What you’d take with you to a desert island

I said earlier about how much I love lino cuts. I used to do them at school, and I now collect them, and one of the things I'm always thinking to myself is, it would be fun to do more lino cuts. And that never happens, because as an architect, there's always a lot happening, and so things that you think you've got time for, you don't. So, on a desert island, what I'd really like is lots of lino cutting tools, ink and an Albion press, which is like a big, massive cast iron press. I could make lino cuts of palm trees.

Your favourite painting

It's a difficult question to answer, because my favourite painting probably is going to be a different one today from if you'd asked me a week ago, but I have always loved this painting. I was at university in Edinburgh and it's in the National Gallery of Scotland, so I often used to go and look at it. It's The Virgin and Child with Saints Jerome, Peter, Francis and an Unidentified Female Saint by Lorenzo Lotto. It is such an amazing picture. There's something about the kind of architectural nature of it with the layer behind them, and the scene in front, which seems to be sort of part of it, but somehow separate too. I love the painting, because for me it's about Venetian painting, but it's also about memories of living in Edinburgh.

The thing that gets you up in the morning

I mean, honestly, I feel lucky to do a job that I love, so I don't really ever have any problems with motivation. I think that it's an incredible gift and privilege to end up doing a job where you never have to even think about getting out of bed.

The items you collect

Sheila Robinson prints, lino cuts in particular, lustre ware jugs, lot of books obviously — and recently, gardening books.

A hotel you could go back and back to

Years ago, I designed a house in New Delhi, and I used to be put up by the clients in the Imperial Hotel, and I really loved it. It's just the most well run, incredible hotel.

A possession you would never sell

My sketchbooks. In 1986 I had two friends called Francis and Jane (not my fiancée Jane) and we thought it would be fun to go on a trip around country houses in England. So we each went and bought a sketchbook, mine was made by Cinelli in Paris, but I bought it from a shop in Russell Street in London. I drew a plan with dimensions on it of all the buildings on our trip. My friend said I should name the sketchbook, because one day I might have loads of them. And so, because we'd just been to Kedleston Hall, and it's a particularly Roman building, I wrote the name of the first Roman emperor, Augustus, on the spine of the book. The sketchbooks are now full of measured drawings of buildings from all over the world.

The most memorable meal you’ve ever eaten

So unlike my brother — he was a real foodie, he would literally go to the other side of the city just to visit a cheese shop — I am not as into food as he was. And I mean, memorable meals for me tend to be the people around the table as much as the food. And we've had lots of family meals over the years around this table. It's nice because it's by candlelight. Slightly unexpectedly, given my furniture tastes, this dining room table is actually steel. The children and I used to play ping pong on it.

The best present you’ve ever received

There's a little family tradition that we make cards for each other at Christmas and for birthdays, and both of my children have inherited a love of drawing, and so one is at Camberwell School of Art at the moment, and the other is at the Glasgow School of Art, so getting handmade cards from them is my favourite thing.

The Country Life ‘Garden Lover’s Library’, designed by George Saumarez Smith of Adam Architecture, is at stand PW215 at the RHS Chelsea Flower Show, May 18–23.

To celebrate, you can buy a year-long subscription for £150 and save more than 40% on the cover price. International offers also available. Until May 31.

The first 200 subscribers at Chelsea will receive a bottle of The Grange Classic Sparkling NV, worth £39. Rated 94 points by Decanter magazine, this premium sparkling wine from Hampshire was described in Country Life as ‘the connoisseur’s choice’. Offer available with subscriptions for UK delivery only.

As the plainer cousins of the beloved butterfly, moths are frequently disregarded, passed off as dull or drab. But when the late Lee Alexander McQueen set up the Sarabande Foundation in 2006, it was a moth he chose as its emblem. When asked why, Trino Verkade, McQueen’s very first employee and now the charity’s director, answers succinctly: ‘A moth is a tenacious creature. Ever-evolving. Constantly growing. It will always fly towards the light.’

Such characteristics are exactly those Sarabande seeks to support in its work, providing emerging artists of all sorts with the means to realise their vision without restrictions. Offering its annual intake access to affordable studio spaces, mentorship opportunities, chances to exhibit, scholarship programmes and many more initiatives designed to support their future successes, the charity emerged out of McQueen’s desire to democratise access to the Arts (he himself had been born into a working-class East London family in 1969 before achieving stratospheric success).

‘They don’t have to be young, they don’t even have to have gone to art school,’ Trino says of the Sarabande cohort. ‘We just want our artists — whether they be painters, sculptors, milliners, fashion designers, animators or jewellers — to be at a pivotal point in their career.’ Alumni include Molly Goddard, Michaela Yearwood-Dan and John Skelton. She is adamant that Sarabande is not an incubator, but an accelerator. ‘Our artists aren’t babies. They’re not here to work things out. They’re here because they’ve got talent and something to say.’

Since its establishment 20 years ago, Sarabande — whose august ambassadors include the artists Marina Abramović and Sam Taylor-Johnson, the photographer Nick Knight and the costume designer Sandy Powell — has opened two blocks of studios in London, letting them to artists at almost unheard-of rates, subsidising monthly rents to just £1 per square metre, ensuring they can invest instead in their ambitious projects. The first Sarabande site was in Haggerston, the second in Tottenham. ‘We have always gone to the places where we feel exciting things are happening,’ says Trino. ‘We go to artists, rather than asking them to come to us.’

In true Sarabande style, however, the home of the foundation is metamorphosing. While the charity’s headquarters will remain in its Victorian stableblock in Haggerston, in Tottenham, Sarabande will, in May, move from its current location within a pair of Grade II-listed townhouses on the High Road to another set of two, this time Grade II*-listed, just a few doors down.

Such a sentence doesn’t do justice to the immensity of this endeavour. The buildings the charity has taken on — known as Holly House and Prudhoe House — were constructed in around 1715 to 1725 for Sir Hugh Smithson, Duke of Northumberland and a local MP. Thought to be the first semi-detached buildings in the country, the houses are perfectly symmetrical — paradigms of the Georgian ideal, with handsome Queen Anne façades, half-hipped roofs and a dentilled parapet cornice made of brick. Each with its own coach house, they were built to lure wealthy merchants to Tottenham, at the time a well-heeled rural enclave on the road to Cambridge from London. But by the time Trino first looked round the buildings in 2017, they were, to put it mildly, in need of love.

Prudhoe House, though used, had lost much of its charm; Holly House, meanwhile, was in a state of total disrepair. Tottenham Hotspur FC, which had bought the buildings a few decades previously, had managed to slow the decay with a new roof, but the situation was getting desperate. Trino remembers walking around the top floor when on her initial visit; three years later, it was too unsafe. While negotiations with the football club took many years, Trino says she knew Tottenham believed Sarabande could help them save the buildings. She recalls a conversation with Daniel Levy in 2020, then the club’s chairman. ‘He just totally understood what we were doing with Sarabande. Spurs do a huge amount of development in the area and they knew they needed someone with proper vision to take on the tenancy,’ she says. Together, they applied for National Lottery Heritage Funding — and eventually secured it, though it was 2023 before the decision was finalised and work could begin.

Tottenham Hotspur FC had already worked with F3 Architects, which made deciding on their involvement straightforward as did the practice’s experience of the adaptive reuse of historic buildings. What F3 have achieved here — especially in the more tumbledown Holly House — is quite spectacular. It is what they refer to as ‘arrested decay’; that is, a true kind of preservation. Across the 14 studios that now occupy the majority of the building, there must be a fragment of decorative history from almost every era on display. Layer upon scraped layer of paint has been left, as have the palimpsest of wallpapers, revealed when the rotten plaster was removed; there are patches of wall sprouting tufts of horsehair between extant Georgian laths, trippy violet walls, and doors daubed with 300 years’ worth of brushstrokes, as thick as an Auerbach canvas.

Unless something was dangerous or needed removing, F3 have left it. As Trino explains, ‘the idea is that the houses continue to live — and we continue to add to their stories. By patching everything up, you make it fake.’ Naturally, with this approach comes a degree of acceptance that, in the future, things will need mending, crumbling areas will crumble more. ‘And we’re happy with that. That is the life cycle of a building. We’ll fix it when it needs fixing,’ says Trino. ‘What’s important is that these houses are being used.’

The only particularly noticeable interventions are the plywood boxes superimposed on the studios’ walls, providing artists with pinboard space, or the fire-safe lino floors installed in the upper rooms, which are reserved for jewellers and their soldering tools. Next door, Prudhoe House, which had been lived in for 20 odd years, required much less work, though F3 and Sarabande have still placed the building’s historic fabric at the forefront throughout. With their six-over-six sash windows and generous proportions, the studios in here, now properly heated, must still be among the finest in the country, even without the extraordinary material history that survives next door.

One of the stipulations of the Lottery’s Heritage Fund is that any project it supports must meaningfully increase public access to and engagement with the heritage asset in question. Here, that has meant the creation of a gallery space in the basement, which Sarabande artists, who are also encouraged to participate in group shows, can avail themselves of whenever they have a suitable body of work. As Trino says, ‘having a gallery that will show your work is a great impetus for an artist.’

There is also the House of Bandits, a café, its name a nod to the anarchic ‘Sarabandits’ the charity supports, housed within the former coach yard of Holly House. Just as in the house, the building’s preserved historic fabric is integral to its character, only now enriched by the addition of site-specific artworks, including carved flagstones and a bar, created by Sarabande alumni Jo Grogan, Tom Hemingway, Castro Smith, Yijia Wu and George Richardson. ‘Once a Sarabande artist, always a Sarabande artist,’ says Trino.

The Sarabande Foundation takes its name from Alexander McQueen's Spring/Summer 2007 collection (above), a poetic meditation on fragility, decay and grandeur. There is something fitting, then, about the charity making its home in buildings that have themselves been in metamorphosis for three centuries; here, disintegration and creation are not in tension. These houses have known splendour and neglect in equal measure. Now, housing artists, they are becoming — like the moth — something else entirely.

When the Country Life stand at this year’s RHS Chelsea Flower Show is unveiled, it will shine a spotlight on our home-grown stone. For the ‘Garden Lover’s Library’, architect George Saumarez Smith of ADAM Architecture has conceived a classically inspired domestic interior. As part of the stand, he commissioned Somerset-based English stone specialists Artorius Faber to create a fireplace carved from fossil limestone in mid-grey from Derbyshire and a geometric floor featuring hexagons of blue-black limestone from southern Ireland and triangles of grey-cream limestone from Derbyshire. Completing the stonework on display is a pair of bespoke decorative obelisks displayed on the mantelpiece. These are made from Cloam English agglomerate.

Not many visitors to the show will instantly recognise the stones. Those typically associated with this country are building stones, such as those from Portland, which were used to build large parts of Georgian London, alongside the honey-coloured stone of the Cotswolds and the sandstones of the North. Few British limestones have been embraced for interiors, although with an eye on environmental impact and a desire to use more native materials, that is changing.

Edward Smith, co-founder of the family-run firm, is just back from a trip to the southern American states of Alabama and Tennessee. The American South is a growing market for their products, he explains. It’s where homeowners are particularly interested in the idea of using British stones for their house projects.

Significantly, none of the samples that Smith was demonstrating to his American clients replicates the classic look of stones typically used in high-end interiors. That landscape has been heavily dominated by Carrara, Arabescato and Statuario marbles in the past few decades. ‘White marbles are unique to Italy and Greece and we don’t have a similar very pale or white hard-wearing replica,’ Smith explains. ‘The marble-like stones we do have in this country come in browns, greys and pinks.’

Part of the somewhat limited market for British stone comes down to scale. Anyone driving north from the airport in Verona can’t fail to notice a vast tract of hillside bearing the scars of large-scale quarrying, feeding the hungry appetites for book-matched Rosso Verona, a distinctive, durable red or pink ammonitic limestone from the Lessini mountains. The Apuan Alps in the northernmost tip of Tuscany have been quarried since Roman times. There, Carrara, Arabescato and Statuario marble is cut out of the face of the quarry in large chunks.

English stones are dug out in smaller quantities and most British quarries exist to create aggregate. Only about 10% of what gets extracted ends up cut and polished — the other 90% is typically used in construction for roads, concrete and other uses. ‘Purbeck Marble was used extensively as decorative details for churches, but never received the immense and sustained patronage that Italian marble benefited from,’ says Smith.

The family behind Artorius Faber began working in the early 1990s when the appetite for hard flooring was growing in the UK. Chinese slate and Spanish terracotta captivated the market at the time, but the company spotted a gap serving a desire for matching or tying in stones within existing country house floors, such as flagstones.

Everything they do is bespoke and the team work on anything from flooring to staircases, architraves, fireplaces, stone basins, terraces and steps. One of their landmark projects includes the Weston Tower in Westminster Abbey. Constructed in 2018 and designed by Ptolemy Dean, it is a square lift shaft encased in 16 different stone types representing all the stones found at the abbey. Others include the reclaimed stone terrace at Annabel’s, designed by Martin Brudnizki Design Studio. They also made the black-and-white paving of the terrace at recently renovated Monmouth House in London’s Hyde Park Gate based on evidence of the garden terracing designed by Edwin Lutyens for the house in 1928.

Artorius Faber owns a quarry on the Isle of Purbeck near Swanage in Dorset. Here, the limestone has 17 layers, each of which has a different colour and application. As the layers were created at different times with different minerals and sea animals, each one performs differently from the next. For example, some will be frost-proof, others not; some will have lots of fossils, while others will be plainer. They also buy blocks from more than 60 others located in all parts of the British Isles, including limestone from southern Ireland through to sandstone from Yorkshire and Lancashire.

Embracing British stone, rather than reaching for popular European marbles, requires a change in mindset, Smith believes. ‘British Stone has a kind of less-is-more style, it’s the classic understatement and more designers are using the hard British stones instead of white marbles due to their uniqueness.’ Rather than creating whole marble bathrooms, it’s about having a simple bath surround or a vanity top on top of an antique washstand. ‘It also has a sense of belonging, thanks to its colour texture and the fact that it’s an integral part of this landscape.’

Furthermore, natural British stone doesn’t date. ‘While cheap imports of travertine, which were fashionable in the 1990s, are now being taken out, we’ve never had to replace a floor that a client has become tired of in 36 years of owning the business. In a world hooked on speed and disposability, stone is a fixed element and, with the right care, will last forever. Clients understand this — they consider the legacy of what they are passing on.’

There are other benefits, too. Compared with marbles from further afield, the carbon footprint of British stone is light. It’s quarried, cut and polished with minimal additives and, more importantly, blocks are selected and cut for specific projects with very little wastage.

Anyone considering using British stone in a significant way, such as a floor of the type on display at the Country Life stand, needs to design it in at the earliest stages. ‘That’s why we like architects and designers to come to the workshop to see the materials and design from the ground up with that element in place from the beginning — not as an afterthought,’ says Smith. ‘A stone floor should be designed for the space; it’s part of the architecture, not a transient covering.’

To ensure someone is on hand to help, visits to the Artorius Faber showroom in Yeovil, Somerset, are by appointment only from Monday to Friday, 7am – 5pm. Contact the team on 01935 847333 or fill in a form here.

The Country Life ‘Garden Lover’s Library’, designed by George Saumarez Smith of Adam Architecture, is at stand PW215 at the RHS Chelsea Flower Show, May 18–23.

The Country Life ‘Garden Lover’s Library’, designed by George Saumarez Smith of Adam Architecture, is at stand PW215 at the RHS Chelsea Flower Show, May 18–23.

To celebrate, you can buy a year-long subscription for £150 and save more than 40% on the cover price. International offers also available. Until May 31.

The first 200 subscribers at Chelsea will receive a bottle of The Grange Classic Sparkling NV, worth £39. Rated 94 points by Decanter magazine, this premium sparkling wine from Hampshire was described in Country Life as ‘the connoisseur’s choice’. Offer available with subscriptions for UK delivery only.

My childhood was spent among books and architectural drawings. The latter were those of my grandfather, the Classical architect Raymond Erith, and the former were those of my father, who was a bookseller, so it is perhaps no surprise that I now live surrounded by both.

This house is in Winchester, where I moved 15 years ago to become a director of ADAM Architecture. At first, the house was rather empty and simply decorated in muted colours. To make it a bit more homely, I started buying furniture at local auction houses, mainly from Andrew Smith at Itchen Stoke near Winchester, Woolley & Wallis in Salisbury and Bellmans in Winchester.

I found, to my surprise, that it was possible to buy late-Georgian tables and chairs very cheaply and my house soon filled up with brown furniture.

The next things I started to collect were pictures. I had made linocuts at school and had a couple of large architectural linocuts by Quinlan Terry, who had taken over my grandfather’s practice and in whose office I had trained when I left university.

I also love the work of a group of linocut artists in Great Bardfield in Essex, perhaps the best known of whom was Edward Bawden. I was very lucky to find several linocuts by Sheila Robinson, a pupil and later a close friend of Bawden’s, which I bought from her daughter Chloë Cheese about 10 years ago.

As well as linocuts, I have collected engravings with a connection to Winchester, particularly views of the cathedral and the college. There is a lovely print shop that I walk past on my way to and from work every day and which I often drop into at weekends.

I have also bought a few works by younger artists who have been inspired by the Great Bardfield artists, such as Emily Sutton, Ed Kluz and Michael Kirkman.

Although most of my architectural work is in England, there are occasional exceptions and, in 2010, I was commissioned to design a house in New Delhi. I had never been to India before and my visits offered an amazing opportunity to find out more about Indian architecture and culture. The experience also gave me a taste for Indian textiles and my house is now full of cushions, tablecloths and bedspreads in a wide range of beautiful hand-blocked fabrics.

The house is also full of my own work. A few years ago, I joined forces with my friends Francis Terry and Ben Pentreath to put on an exhibition at the RIBA in London that we called ‘Three Classicists’. We produced some large presentation drawings for it, most of which now hang in my office at work.

A few years later, I approached the RIBA about doing a show on my own called ‘Measure Draw Build’, which was held in 2017. After the exhibition, the drawings came back to Winchester and, to ensure they were in a safe place, I hung them all in my small study, which also has an old oak plan chest and a mahogany architect’s desk.

As well as drawings, the study is also usually full of books. It has become a kind of halfway house for books intended for either upstairs or downstairs and, every now and then, I have a big tidy up and they find their way onto shelves. But I find piles of books are a good thing to have around anyway, so there is always something close at hand to read. Many were from my father’s shop, Heywood Hill in Mayfair, and others have been gifts over the years. I also buy books from a stall in the cathedral close that is run by a friend, Miranda Bennett, and which raises money for the cathedral choristers.

As the house has filled up with furniture, pictures and books, I have begun to run out of space. For this reason, I have, more recently, been collecting smaller objects such as glass and china. Over the years, I have collected quite a bit of mochaware and lustreware, although I probably have enough of both now.

One of my most recent purchases were two lots of English Delftware plates, which I have hung on the wall — it seems like the best way to display them, although I’m aware it might seem old-fashioned.

Less old-fashioned is my kitchen, the central workbench of which was made by Bulthaup. I cook on an Aga, which is great for most of the year, but does make the kitchen rather warm in summer. Around the edge of the kitchen are cabinets that I designed to hide appliances and provide lots of storage.

Having painted most of the walls in tasteful blues, greens and greys when I first moved in, I have tried to be a bit more adventurous about colour and pattern in recent years. The house was built in the 1860s, so it seemed appropriate to use a bold wallpaper in the dining room. After much searching, I found a paper called Indian, produced by Morris and Co and designed by the architect George Gilbert Scott. It has a bold, graphic quality that goes well with the textiles and linocuts elsewhere in the house.

One of the bedrooms has been wallpapered in a pattern named Monkeys and Birds, designed by Sheila Robinson and re-issued by St Judes Gallery. I am currently looking at more wallpapers for other rooms in the house, but I don’t feel any great hurry to do this — it will simply happen when I find the right thing.

This is the same approach, I suppose, that I have taken to the whole house; it might be called Slow Decorating.

I have tried to make the house more comfortable over the years. Architects often seem to be happy living in quite Spartan conditions, but, influenced by my fiancée, Jane, and my teenage children, I have tried to create lots of places that are comfortable places to sit and relax for a chat or to curl up with a good book.

Every year, I go to Rome to teach measured drawing to American students and, if I have any spare time, I look out for small Grand Tour souvenirs in the antique shops around the Via dei Coronari. Recently, I found some marble obelisks and a pair of small bronze urns on pedestals. I also purchased a plaster bust of Ariadne, a cast of a Roman bust in the Capitoline Museum in Rome, from an auction house in West Sussex.

I have never really wanted to design a house for myself; I generally find it much easier to make decisions for other people. Perhaps one day, a client will commission me to completely design and decorate their house, which I would love to do — but only if they like bold wallpapers, Indian fabrics and lots of books.

Decorating is probably a job best left to professionals — and I have worked with many amazing decorators over the years — but I do think there is much to be said for decorating slowly and allowing layers to build up gradually. Homes are most interesting, after all, when they reflect the lives of their owners.

This feature originally appeared in the April 1, 2020, issue of Country Life. Click here for more information on how to subscribe.

Hamilton Weston

Decorative artist Flora Roberts has created a trompe l’oeil version of her studio wall, featuring her paintings of fruit and foliage hung from vintage clips. Botanical Studies wallpaper costs £324 per 10m roll from Hamilton Weston.

Penny Morrison

A re-creation of an English embroidery style from the early 18th century, Little Begum Teal wallpaper features an array of climbing foliage and fanciful flowers. It costs £360 per 10m roll from Penny Morrison.

Susie Watson Designs

Saffron Ivory Large Shalini wallpaper combines a delicate motif in pale bone colour with a soft ochre ground, designed to add gentle elegance to any room. It costs £72 per 10m roll from Susie Watson Designs.

Edward Bulmer

Edward Bulmer Natural Paint has introduced A5 hand-painted colour swatches, a toxin-free way to sample its breathable, plant-based paints. The cards cost £1.50 each.

Ottoline de Vries

Frogspawn grasscloth wallcovering in Soft Sage and White is hand-drawn by Ottoline de Vries and digitally printed on sisal grasscloth on a non-woven backing, £575 for an extra-wide 6m roll.

Neptune

Nettle is an uplifting green paint, shown here with woodwork in Moss to complete the fresh effect. The pots cost from £48 for 2.5L emulsion from Neptune.

Fanny Shorter

Fanny Shorter’s Circe’s Garden wallpaper is inspired by the gardens of Mount Stewart in Northern Ireland, where the mild microclimate enables Mediterranean and exotic plants to grow in abundance.

‘As you walk through this near-tropical foliage, you are watched by scores of statues of animals and mythical beasts, hiding in the bracken or bracing a terrace,’ she says. ‘I was captivated and inspired.’

The wallpaper in Stubbs Brown costs £190 per 10m roll, available also as hand screen-printed linen, £195 per m.

G. P. & J. Baker

The joyful spirit of celebrated interior designer Kit Kemp is captured in her latest collaboration with fabric and wallpaper brand G. P. & J. Baker.

Cloudline wallpaper costs £149 per 10m roll, its blue and green hues echoed in matching fabric, £110 per m, and Forest Flower fabric, £98 per m, on the headboard.

Mylands

Garden designer Jinny Blom has created a collection of 12 colours in partnership with paint manufacturer Mylands. Rain, shown here, is a soft blue that pairs well with natural lime mortar. It costs £42 for 1L multi-surface eggshell.

This feature originally appeared in the April 22, 2026, issue of Country Life. Click here for more information on how to subscribe.

Interior decorator and natural-paint manufacturer Edward Bulmer has teamed up with Laura Cavendish, Countess of Burlington, to produce 24 new colours inspired by Chatsworth House in Derbyshire. They range from Chatsworth Cream, which has long been used throughout the house, to Delft, a nod to the collection commissioned by the 1st Duke of Devonshire.

Having already led renovations of family-owned properties, including Bolton Abbey in North Yorkshire and Lismore Castle in Co Waterford, she was familiar with the paint, which is plastic free and made from natural, plant-based and mineral raw materials.

‘We started by walking around the house and my heart sank as I couldn’t see any standout wall colours,’ explains Edward. ‘I then spotted a contender on some kitchen joinery and another in a passageway chosen by Deborah, 11th Duchess of Devonshire. What emerged was a palette of colours, some obvious and others less so.’

The colours are evocations of the house, rather than lifted from the state rooms. For example, Enfilade is an earthy chestnut brown, inspired by the oak door cases that lead down the Long Gallery into a royal apartment. Sekhmet, a black, was inspired by a statue of the Egyptian Goddess Sekhmet. ‘There are lots of usable colours, alongside some more special tones that we’ve plucked out of 19th-century flock paper or an amazing cyanotype in the collection.’

The interior decorator John Fowler was one of the first to focus on historically accurate paint colours. He was familiar with the pigments available in the 18th and 19th centuries and helped precipitate the modern vogue of sensitive restoration.

When decorating a historic country house, there’s a desire not to put a foot wrong by choosing an inappropriate colour, but Edward is adamant that there’s no need to ape the precise shade used when the house was first built. ‘Conservationists are fixated on colour, but when we think of historic colours, they have aged with time. Before the introduction of chemical paints, all oil paints were made with linseed oil, which goes yellow as it ages.’

Historically, the choice of colours was influenced by the cost of the ingredients. Below stairs, paints were typically made with cheaper pigments and the more expensive used in the main entertaining spaces. Over time, these colours have been reimagined. Joa Studholme, Farrow & Ball’s colour curator believes that fashions for colours come and go. ‘Biscuit, a dark cream, is a good example,’ she explains. ‘It was one of Tom Helme’s [a co-founder of the firm] original colours, but over time it became too green and lost favour, so we re-created something with more red in it. Historical colours read a bit green for the modern market, but trying to understand why is like analysing why stonewashed jeans fall in and out of favour or how the mini skirt goes up and down.’

Joa says that yellow, another historic colour, is having a moment in the sun. ‘I think it’s something to do with nostalgia after all the grey. First, we had an appetite for warm clay tones, and now it’s yellow again.’ She favours more restrained and muted hues of Hay and Sudbury Yellow for a been-there-forever look. Another colour that has woven in and out of fashion is brown. It was celebrated in the 1960s by David Hicks, who lacquered the walls of his Chelsea home in a deep, glossy brown. ‘I’m seeing a lot of interest in brown, especially in kitchens,’ says Joa. ‘Again, it taps into something nostalgic — it’s not showy and shouty.’

As a rule, she advocates using historic colours, but stops short of slavishly re-creating a historic scheme, lest the results end up being too dreary. Instead, she advises tapping into the spirit of a house. ‘I used to think a lot in terms of Georgian colours or Victorian colours, but, although that might be useful if restoring a Regency palace, it’s all a bit meaningless if you’re working on your own home — use the colours you like instead.’

Patrick Baty, an expert on the history of architectural paint, agrees. ‘For a house that’s open to the public, where the purpose is to tell the story of family history, it’s vital that the right colours are employed.’ Patrick recalls his work on reinstating the state rooms at Stowe House in Buckinghamshire to about 1800 — the time of the 1st Marquess of Buckingham, ‘a heyday, before everything started to unravel’ — as an example where accuracy is fundamental.

The next category is when there’s no specific story to tell, but a house is open to the public. ‘Then it’s wise to follow, albeit loosely, the decorative convention of the time, but only up to a point.’

It can backfire if you are too strict. He cites a time when the Georgian Group decorated their headquarters in a period-correct fashion, but then couldn’t make money renting the space for events — the scheme didn’t appeal to modern tastes. ‘We took a less scholastic approach and decorated it in a more neo-Georgian fashion, suggestive of the late 18th century, but not beholden to it — and it worked.’ When painting a home, however, Patrick believes the interior palette should be up to the owner’s own tastes. ‘It’s the exterior of the house that should be painted in colours that are sympathetic to the setting and the period.’

However, Tom Balch, director of Rose of Jericho, which makes a range of heritage paints, is passionate about their relevance, even today. ‘Using authentic historic colours when redecorating historic houses isn’t merely about being “correct” for the sake of it — it fundamentally affects how a building looks, feels, ages and is understood.’

He argues that modern colours lack the subtle tonality and soft beauty of traditional palettes. ‘Modern paint can blur or flatten architectural detail, whereas historic colours were chosen to accentuate mouldings, profiles, separate planes and enhance depth and proportion.’ For those planning a significant restoration programme on a listed house, he adds a practical consideration, too: ‘Listed building consent is easier when the colours are justified and conservation officers tend to respond better to researched schemes.’

This feature originally appeared in the April 8, 2026, issue of Country Life. Click here for more information on how to subscribe.

Inspiration for Tasha and Barney Green’s business, Weaver Green, struck when they were sitting on a wall in a Turkish port 20 years ago, watching a fisherman cut plastic bottles into a long spiral to make a rudimentary rope to tether his boat. It sparked the idea of transforming plastic bottles into soft yarn that can be hand-loomed into rugs, throws, cushions and other home accessories. Today, the couple’s handful of businesses also includes The Unnatural Flooring Company, which makes flooring that looks convincingly natural, but is made from vinyl, polyamide and polypropylene with all the performance benefits they offer.

For the past 25 years, their home has been in south Devon, near where Tasha grew up. ‘We initially bought some cottages on the edge of a beautiful old estate. Later, parts of the estate were broken off and put up for sale, including a Victorian cricket pavilion that stood a short walk through the woods at the end of our garden. We jumped at the chance to buy it.’

The single-storey wooden structure had been built in about 1850 and used as overflow accommodation for the main house. Inside was a basic kitchen and bathroom, as well as a loo and a septic tank, but no electricity. The walls were riddled with woodworm. ‘Still, we were thrilled. It really came into its own during the early days of the pandemic, when we were operating at what I can only describe as an unsustainable level of hospitality — there were 11 of us living under our roof and it felt like cooking for a dinner party every night. Barney and I would use it as an escape pod, living cheek-by-jowl with the mice and woodworm, but we didn’t mind; when you get there, it feels as if you’re somewhere else entirely with starlit skies and owls. We relished the peace and quiet.’

Another attraction was the chance to escape the constant connectivity of modern-day living; there was no television, no Wi-Fi and no mobile-phone connection because of a hill that blocks signals reaching the nearest mast.

Three years ago, however, a strong storm tore off the roof and brought down several trees. Left with only the frame of the building, they decided that the time was ripe for a full restoration. ‘What we didn’t want to do was anything that affected the charm of the original building. It was never a grand structure — these heavily wooded Devon valleys render formal games of cricket almost impossible in any case — but the position is magical.’

Giving a new purpose to an old building that might otherwise have been reclaimed by nature has been a source of huge pleasure for the couple. The layout is simple, with a large living room, a galley kitchen, a main bedroom, a bathroom and a bunkroom. Electricity is delivered via a nearby storage shed. The couple used wood from trees that had fallen in the storm, including oak, ash and beech. For the floor of the large porch, they used reclaimed Delabole slate laid in a herringbone pattern sourced from a local yard. Oak provided planks for a new floor and kitchen cabinetry, which is simply designed with the original butler’s sink and a stone worktop. They clad the walls and ceilings with tongue-and-groove panelling.

‘When the weather is nice, what we love to do is throw open the doors so that the division between the inside and the outside almost disappears.’ To that end, the bathroom has a tin bath by the doors, which can be pinned back on cabin hooks, and the main bedroom has a built-up bed so you can lie with tea and toast, take in the views or listen to the nearby river. Weaver Green products, including indoor/outdoor kilims and rugs, which can be thrown in a washing machine, are much in evidence.

‘I realise we are extremely fortunate to have this space and it’s not an option for everyone, but I love having somewhere that we can escape everything and everyone and just switch off,’ says Tasha. ‘It’s also where I find lots of inspiration for new designs that I think would be useful to have in the pavilion.’ One such initiative, which took five years to come to fruition, is the Babylon collection of cushions made of recycled plastic yarn that looks and feels like natural linen. These can be left on the garden furniture if it rains, avoiding the need for mad dashes outside in the wet.

During the day, the Greens like to fish in the nearby river. ‘I see fishing as a sort of aquatic tai chi,’ says Tasha. ‘Your brain empties and there’s very little to do except take in the wildlife and the surroundings. It’s the perfect respite to everyday life, where we are surrounded by incessant noise and in constant communication. Being able to switch off and go off grid is the greatest gift ever.’

This feature originally appeared in the April 8, 2026, issue of Country Life. Click here for more information on how to subscribe.

On March 24, Country Life hosted a panel discussion at Heritage Barn at Daylesford, in the Cotswolds, that featured: Jonathan Dinnewell of Smallwood Architects; interior designer Sean Symington; Joanna Cocking, head of the Hamptons Private Office; stone expert Edward Smith of Artorius Faber; and Tim Moulding, an eighth-generation builder who leads Moulding, a specialist in restoration and construction.

Subjects ranged from managing the planning process to longevity, spatial planning and sustainability.

It was followed by a question-and-answer session and a barbecue lunch on the terrace.

The Heritage Barn, which has recently been brought to life with an extensive programme of restoration and sensitive intervention, offers a perfect example of how historic buildings can be reinvented.

For further information on private events at Heritage House, please telephone 01608 731700 or visit www.daylesfordstays.com

There are many things to note about Ashington Manor in Somerset, not least that, in the 16th century, it was the home of Ursula St Barbe, wife of Sir Francis Walsingham, Elizabeth I’s chief fixer, whose machinations precipitated the gruesome end of Mary, Queen of Scots.

Although she primped it up with a fancy new façade and oriel windows, it had mixed fortunes in the following centuries until it was stumbled upon by Isabel and Julian Bannerman. The couple are makers of magical gardens, who have cast their spell for The King, Sting and Trudie Styler, Jasper Conran and Keith Tyson, as well as further afield, including in Lower Manhattan, New York, where a garden they designed commemorates the British and Commonwealth victims of the attack on the World Trade Centre in 2001.

However, what is remarkable on a crisp morning beneath the mullioned windows of Ashington’s double-height great hall is that it is almost toastily warm, in a way that could never be achieved by even the most generously proportioned hearth.

Most people who spend time in leaky, historic piles resign themselves to the fact that if they want to enjoy the heady smell of old oak, the texture of worn stone and the gentle creak of mortise and tenon joints tapped together three or four centuries ago, the price they must pay is wearing thick socks and a gilet all day (and night). They cling to the Aga like a limpet and feel pathetically grateful when handed a hot-water bottle or find, to their delight, that someone has remembered to flick the switch on one of the world’s least expensive luxuries — an electric blanket.

All the while, however, they summon all their pragmatism to square this discomfort with the fact that they’re in a house that has remained pretty much untouched since it was built, save for some woefully inadequate central heating. It’s the contract you make with authenticity.

Ashington Manor is different, thanks to an 8kW Daikin heat pump powered by 27 solar panels in a field behind the house, which together provide a constant source of heat that gently seeps into the house via the original Blue Lias floors revealed in the restoration. Where possible, insulation is provided by Glapor, made from recycled glass and Lime-crete, which creates breathable floors. Encouragement was provided by one of the Bannermans’ sons, Rex, an academic who specialises in quantum physics at Southampton University. Ashington joins other recently restored historic houses, such as Athelhampton in Dorset and Tottenham House in Wiltshire (where there are plans for a 40-acre solar farm), as an example of how thermal efficiency and sympathetic restoration can sit quite happily side by side.

Once the Bannermans had completed the painstaking task of restoring the structure to one that St Barbe would recognise, Gilbert, their antique-dealer son, helped them track down pieces that would make it their own. Their approach to interiors is unburdened by weighty historicism; in the couple’s bedroom, a vivid mix of green and raspberry-red bed hangings, crewel work, cheery chintz and a poster or two reminds you that you aren’t in a museum. They have no fear of scale or quantity, but understand that both require an artful balance to ensure they don’t overwhelm.

In the kitchen are classical reliefs, a plasterwork of Sir Richard Grenville (the explorer whose father captained Mary Rose) and enough antique china to stock a shop or two. The result, like their gardens, is romantic and playful, rather than po-faced. They also understand creature comforts; new elm floors and carefully planned bathrooms ensure that there are no compromises.

The Bannermans have a reputation for being flighty buyers and sellers of a succession of houses. In fact, they have owned only four (excluding a non-starter) since 1982, making them bang on the national average of a move every 10 years. Average isn’t a name that can be used to describe their homes; the first was the Ivy, a Grade I-listed Baroque masterpiece in Chippenham, Wiltshire, followed by Hanham Court on the eastern extremes of Bristol. There, they got into their stride, fighting their way through leylandii and copper beeches to reveal a gem of a house and garden that dated back to, or possibly before, the Norman Conquest, on which most subsequent centuries had left their mark, including magnificent gates that were added during the Tudor period.

A veil is discreetly drawn over the next in Norfolk (there is usually an architectural lost cause buried in the past of anyone with a track record of restoration). Attention then turned to the magnificent Trematon, a motte-and-bailey castle near Saltash in Cornwall that is thought to have been built on the site of a Roman fort and has a commanding position over the Tamar valley.

Each of this succession of houses offered different challenges, but Ashington was perhaps the greatest; ravaged by a fire in the early 19th century, it became the architectural equivalent of a cut-and-shut car, simultaneously saved and savaged by the addition of a new floor that stunted the height of the great hall. What had earlier been an expression of St Barbe’s social elevation became a functional — and compromised — farmhouse, but the Bannermans’ patient unpicking of the house and harnessing of natural resources has brought it to life in a way that offers a blueprint for restoration in the 21st century.

This article first appeared in the April 8 issue of Country Life. For more information on how to subscribe, click here.

Gilbert Bannerman will be on stand E16 at the Spring Fair, Battersea Park, London SW11, from May 12–17

Last month, Dorothy Draper, the most influential US interior designer of the 20th century (her column was syndicated to 70 newspapers) was the subject of a Country Life panel discussion at London Design Week. She had a crisp, direct style that conveyed what she meant (‘if it looks right, it is right’, ‘too much of anything is the beginning of a mess’, ‘eating is really one of your indoor sports; you play three times a day, and it’s well worthwhile to make the game as pleasant as possible’).

Communicating with clarity about design has become a rare skill in the 21st century. When I mentioned in an Instagram post recently the growing ubiquity of imprecise words used to describe interiors, I was showered with additional suggestions. Here are some helpful definitions for the most unhelpful terms.

• Artisanal (adj) Describes anything from gilding to grinding coffee beans.
• Character (noun) If invited to a characterful house, you might want to pack your North Face to wear over your pyjamas.
• Considered (adj) There’s a shadow gap between the walls and the floors and a bespoke iron stair rail.
• Craft (verb) See artisanal.
• Curate (verb) To arrange with minute precision your collection of studio ceramics on a floating shelf.
• Custodian (noun) You are uncomfortable with the fact that you live in Grade I*-listed Palladian splendour, so describe yourself as a ‘custodian’ rather than an ‘owner’.
• Elevate (verb) To invest in a new stone floor, discreet lighting and some Russell Pinch furniture.

• Formal (adj) The planners wouldn’t let you knock down the wall between the kitchen and the drawing room, so you tell everyone that it’s great to have a grown-up space to entertain (but only at Christmas).
• Good bones (noun) The structural elements of an old house of which an interior designer approves, but isn’t entirely sure what they are — or how they hang together.
• Historic (adj) Old.
• Honed (adj) A pared-back interior that was overthought, over-schedule and over-budget.
• Informal (adj) Lots of open-plan space — and your cleaner has been poached by your neighbour.
• Ironic (adj) An item that is expensive, but in poor taste. Often acquired after a glass (or three) of Sancerre in Bruton. The free tote bag was a bonus, however.
• Palimpsest (noun) A tired property, untouched for 50 years, that has been moodily photographed by the fashionable estate agent to look like something from the pages of The World of Interiors. Ruinously expensive to restore.

• Pared back (adj) No curtains. Or, indeed, much else.
• Playful (adj) Like ironic, but akin to something you’d find in a nursery.
• Soulful (adj) A pot made by someone who took up ceramics after a midlife crisis.
• Storied (adj) A US import used as an alternative to ‘old’. Adopted by PRs and copywriters to describe hotels and restaurants more than 50 years old without much of a story.
• Sympathetic (adj) Sombre paint colours, brown furniture and a Ziegler rug.
• Thoughtful (adj) See ‘considered’, but add reclaimed materials.
• Vintage (adj) Bought at a car-boot sale.

This feature originally appeared in the April 8, 2026, issue of Country Life. Click here for more information on how to subscribe.

When decorative artist Tess Newall and her husband, Alfred, a furniture-maker, were restoring their cottage in the South Downs, they rented another on the nearby Firle estate.

In the garden was an old wagon used as overflow accommodation and for entertaining. ‘It was falling apart, but our three children loved it — and we did, too. We asked if we could take it on,’ says Alfred.

The wagon has since been both a labour of love and a source of creative inspiration for his new collection of furniture, Caravan, and their shared interest in folk art.

The first challenge was to track down a wheelwright who could move the wagon and embark on a process of repair — no mean feat, as there’s a dwindling number of artisans capable of working in such a wide range of timbers; elm on the hub that connects the axles, ash on the legs that create stability and oak on the felloes, the outer rim of the wheel.

Today, so-called ‘vardo art and living wagon crafts’ are listed as ‘endangered’ on the Heritage Crafts red list. Once these were fixed, there was still the question of the body of the wagon, which was in poor condition. For help, the couple enlisted the wagon dealer, restorer and cabin-maker Rollo Dunford Wood.

The restoration of the structure took a few years and then it was time to make it their own. ‘We both felt that we didn’t want to directly copy any Romany gipsy wagons — we wanted to use our own designs,’ explains Tess. ‘I love the research element to decorative painting. I’m inspired by the humanity in folk art — it was always carried out by people who were self-taught, rather than professional artists, whose tools included pine cones, sponges or potatoes. There’s a lovely simplicity to the designs, which isn’t overthought. It was painted to live with rather than to impress and the approach feels very pure.’

The limited palette is part of the tradition and the Newalls used a supplier that specialises in paints for canal barges. For decorative inspiration, Tess looked at European and Scandinavian folk art. ‘I love painted armoires from Dalarna, Sweden, which I reference a lot in my work, as well as Swedish Mora clocks. They are painted with simple motifs repeated. The overall effect looks beautiful.’

A set of Transylvanian plates displayed in the wagon also inspired some of the decorative paintwork. Nothing was done with too much caution, so flicks of brush hair and smudges are visible. ‘It’s a wagon made largely of wood, which deteriorates quickly in the elements, so it needs a certain amount of upkeep,’ explains Alfred, ‘but it’s not a question of keeping it shipshape. When things look perfect, it feels out of kilter with the romance.’ Neither sees the product of their labours as something that will stand still in time: scratches will be made and further layers of paint and design will gradually be added. ‘Traditionally, those who lived in these wagons would paint them every few years as part of the upkeep. When a wagon changes hands, a new story begins. We see ourselves as custodians until the wagon’s next chapter,’ he adds.

The photographer Simon Brown boasts an encyclopaedic knowledge of the world of wagons. Much like the Newalls, his introduction to the subject happened by chance, when he spotted a small ad in the back of The Observer.

His wagon is a Thomas of Gloucester ‘Burton’ style, painted in a rich, glossy red. It was built in about 1890 and is known as the ‘Cody Wagon’ because it is reputed to have formed part of the entourage of Buffalo Bill Cody’s Wild West Show, which toured the UK and Europe eight times.

Inside, there is a sleeping area and on the left is a tiled wood-burning stove, positioned so the chimney above is less likely to be damaged by low-hanging branches when on the move. The wagon is decorated with simple motifs and pastel fabrics by the historic USA textile brand Rose Cumming and, like the Newalls’ wagon, it required a not inconsiderable amount of work to keep in shape over the decades.

Sadly, for those keen to explore the history of wagons, historical documentation is sparse; Simon recommends The English Gypsy Caravan, written in 1973 by C. H. Ward-Jackson and Denis Harvey, as the only authoritative book.

‘In the last half of the 19th century, there was a number of these colourful horse-drawn wagons built by travelling people who made their money by taking goods and trades around the countryside,’ explains Simon. ‘Whatever extra they earned, they would often put back into the wagons. This period was very short, however. Once petrol and traction engines came along, everything got bigger, and they weren’t as decorative.’

Interior designer and creative director of Firmdale Hotels Kit Kemp is another accidental wagon owner. ‘One of my daughters was doing a dry-stone walling course in Dorset and I had stopped at a reclamation yard on my way to visit her just to see what was on offer. It was a fateful decision. The wagon was almost waiting for me, complete with a patterned carpet and velvet curtains. I paid for it there and then and remember leaving thinking I was probably going out of my mind.’

It now stands in the garden of her home in Hampshire and has become a playhouse for her grandchildren. ‘The end of the garden has become something of an encampment: when I’m ancient, I’m going to move in with a biscuit tin and a kettle,’ she says.

Throughout her career, Kit has been a champion of folk art and craft, which she believes gives enormous visual and emotional pleasure. ‘There’s something about the old journeyman idea that really appeals to me. They would travel the country and paint on the spot, leaving blotches of paint and smudges along the way. I’ve always been attracted to folk art, be it from India, Eastern Europe or Guatemala and prefer things to look handmade.’

The artistic expression embedded in the designs of a traditional wagon — the ornate carvings and colours that are not only decorative, but also often represent a family’s identity and heritage — is endlessly fascinating to Kit. ‘It’s a physical form of family storytelling which these old wagons do so well.’

This feature originally appeared in the April 8, 2026, issue of Country Life. Click here for more information on how to subscribe.

Set in the heart of Burgundy, with origins dating back to the 12th century, this historic château has recently been revitalised by its new owners.

‘They wanted to give the property a new lease of life,’ explains Rémi Fiacchetti of Neptune Paris, who was commissioned to create the new kitchen.

The space had previously been divided into two, with a stud wall added in the 1970s to accommodate a bathroom. As the owners enjoy cooking and entertaining, they envisioned a generous kitchen with a central island. ‘It made sense to remove the stud wall and open up the space,’ explains Rémi, who positioned a statement range cooker by La Cornue where the bathroom once stood.

It is beneath a bespoke chimney in the style of a traditional French fireplace, used here to conceal an extractor.

‘In the 1970s, some of the beautiful old Burgundian limestone flooring was removed to make way for the bathroom, so sourcing antique tiles to replace it was a painstaking process,’ he says.

The owners chose Neptune’s Chichester cabinetry, inspired by classic English country-house design, to complement the architecture of the château. Made to bespoke dimensions to suit the grand height and scale of the room, it is painted in Driftwood, a warm neutral, chosen to provide a paler contrast with the oak beams.

The island is finished in Constable Green to anchor the design and add a darker element. Softly illuminated glazed cupboards break up the tall cabinetry and provide space to display the owners’ collection of copper pots and apothecary jars.

‘This is a practical room with modern appliances and hardwearing surfaces, but it is also carefully designed with a timeless feel — as if it might always have belonged to the château,’ notes Rémi.

At this event, interior designers Rigby, as well as rug specialist Jennifer Manners and Charlie Porter, founder of Tat London, chose female figures whose careers and work they found inspiring. Those discussed included Eileen Gray, Dorothy Draper, Charlotte Perriand and Gretchen Andersen. All had shown faith in their own instincts to innovate across many design areas — often at a time when it was rare for women to establish their own businesses. Hosted by Hector Finch at the showroom of his eponymous luxury lighting brand, it took place on the first morning of London Design Week, which this year saw the unveiling of The Design Emporium Collective on Fifth, a new resource for visitors offering a range of furniture, fabrics, wallpaper and accessories.

The Hector Finch showroom 301, Design Centre East, Lots Road, London SW10 0XF — 020–7731 8886, www.hectorfinch.com

Each year, the Country Life Top 100 names the very finest country house architects, interior designers, landscapers, garden designers and craftspeople in Britain. It's one of the magazine's undisputed highlights of the year, with our interiors expert Giles Kime spending months alongside experts from across the country to produce the final list.

We're delighted, then, that Giles joins James Fisher on the Country Life Podcast this week to talk about the 2026 list, to explain how it's evolved and developed for its latest iteration.

• Subscribe to the Country Life podcast on Apple Podcasts
• Subscribe to the Country Life podcast on Spotify
• Subscribe to the Country Life podcast on Audible

This year, the most striking change is in the number of artists, craftspeople and artisans who've earned recognition. Giles explains to James why that is, why craft is so important and becoming ever more so, and highlighting some of the wonderful people who are in this year's Top 100.

You can see the full Country Life Top 100 here; and to see Giles in person you can book a ticket for his conversation with Kit Kemp — a designer on the Top 100 list — at the Winchester Book Festival in April.

Episode credits

Host: James Fisher

Guest: Giles Kime

Editor and producer: Toby Keel

Music: JuliusH via Pixabay

Vale of Glamorgan — £3.25 million

Games rooms don’t come much more impressive than the one at The Goldings, where the walls are panelled, the dramatic cathedral ceiling makes newcomers exclaim ‘wow’ and there is a central brick fireplace to dispel winter chills. This billiard room measures 39ft by 20ft and, as the name implies, there is ample space for a billiard/snooker table and plenty of other furniture besides. Windows on two sides offer views over the landscaped gardens, which stretch over about 3¼ acres.

The Goldings, sited in the peaceful village of Peterston Super Ely, seven miles from Cardiff, is a late-19th-century stone property with five bedrooms, four reception rooms and a proliferation of period features. ‘In my opinion, [The Goldings is] one of the finest examples of a period home in the area, with the most beautiful ornamental gardens,’ says agent James Thomas.

£3.25 million via Savills

West Sussex — £2.25 million

Minstrels Wood, on Okehurst Lane to the north of Billingshurst, has six bedrooms and four reception rooms, but also much, much more. This 17th-century home, with myriad historic features on display — including characterful exposed timbers, feature fireplaces and original brick and stonework — would suit keen equestrians, as it has a flood-lit manège, 5¼ acres of land, three stables with a flat above and a tack room.

We promised a games room, however, and this is it:

It's in an outbuilding, which plays host to a 43ft by 23ft space that also has a kitchen and cloakroom, an adjacent gym, a sauna, and a viewing window into a garage where you can park your classic car. There are just so many ways to wind down when the hard work is done.

The garden consists of large swathes of lawn, mature trees, a parterre, flowerbeds, an expansive paved terrace and a second terrace with ornamental feature. All of this is only a one hour 12-minute train journey to London Victoria from Billingshurst itself.

For sale at £2.25 million via Strutt & Parker

Essex — £1.875 million

If you're looking at the house above — a Grade II*-listed home dating back to the 16th century — and worrying that having a pool table might be a tad anachronistic, don't fret: billiards actually dates back to the 14th century, and Mary, Queen of Scots was famously a keen player.

Thus, Hatch Farm's 27ft by 17½ft leisure/games room in the converted barn — a vaulted space that lends itself to entertaining or use as an annexe, with its own washroom and dual loos — is entirely safe from tutting by passing historians.

The television which slides up from the end of one of the beds might be another matter, of course.

The main house at Hatch Farm has six bedrooms are arranged over two floors, with five reception rooms that offer plenty of space for family time or formal entertaining — and there is a study perfect for home workers. It's located in the semi-rural village of Kelvedon Hatch, with close proximity to the A128 and A12 and consequently fast journey times to the likes of Brentwood, Chelmsford and London.

For sale via Savills and Fine & Country at £1.875 million.

Devon — £1.25 million

'What more could you need?' says agent Lauren Jones says of Little Venhay as she walks into the party barn: ‘This home really does keep on giving… It’s got a holiday let, a spectacular four-bedroom house, a swimming pool, just under five acres, outbuildings and you can finish your day with a drink in the bar.’ Said bar is within a separate spacious outbuilding that is currently set up with a pool table, making it a games room in our book. There is even a cinema room here, on a mezzanine.

The Grade II-listed house itself, sited close to the village of Witheridge near South Molton and Tiverton, comes with a historic backstory, too, and is rumoured to have once been a hunting lodge belonging to the Earl of Portsmouth. You can certainly still see the past within, not least in the raft of exposed beams, inglenook fireplaces and Gothic windows. The grounds outside extend to about 4¼ acres.

For sale via Fine & Country at offers over £1.25 million.

Somerset — £2 million

And finally, a house where the owners have turned the biggest living space in the property into a place of leisure for relaxed living. The glorious great hall at Rodwell Manor in West Lambrook is a true eye-catcher, with one end a traditional sitting room and the other end a games room with a fine, full-sized snooker table

This beautiful Grade II*-listed thatched manor house, with Hamstone and blue lias stonework, as well as mullioned windows, has medieval origins, with further developments through the centuries, and ancient grandeur really does meet family home comforts.

There are four further reception rooms downstairs, six bedrooms on the first floor and the house stands in 5¼ acres of gardens and land amid unspoilt farmland. Yeovil, with its London rail links, is 12 miles away.

For sale via Jackson-Stops at £2 million.

Interior designer Angelica Squire combined natural textures and tones to create a characterful country retreat.

After buying a 19th-century cottage, deep in the woods on the edge of the South Downs in Sussex, the owners turned to Studio Squire to undertake a complete renovation.

‘They wanted a country escape and to move in quickly,’ recalls interior designer Angelica Squire, who runs the studio with her husband Richie, a construction specialist. ‘Our job was to facilitate every detail, down to the knives and forks in the kitchen drawer.’

Reflecting the cottage’s rural setting, the colour palette is grounded in natural hues. The sitting room is painted in Bronte by Bauwerk Colour, a limewash that lends subtle texture and tonal variation. With a series of small windows lining both sides of the slender room, heavy, dark fabrics risked overwhelming the space. Instead, the windows are dressed in softly draping cream Milano linen by Claremont to lighten the atmosphere and echo the muted walls. ‘Together they create a serene backdrop,’ explains Angelica.

An alcove beside the stove is stacked with logs and the floor is covered in natural sisal for added texture. At the centre of the room, a plain linen ottoman doubles as a surface on which to rest a tray of drinks or piles of books. It is surrounded by armchairs, side tables and lamps, arranged to create an inviting space for relaxation and conversation with friends. Two antique armchairs were re-upholstered — one in pink velvet, the other in Horizon Stripe by Vanrenen Hanbury — with sofas in a dark-yellow corduroy and gingham linen, rather than florals or chintz.

The result offers a warm, modern twist on classic country style. ‘The effect is cosy and layered, without being loud,’ she says.

This feature originally appeared in the March 18, 2026, issue of Country Life. Click here for more information on how to subscribe

In recent months, reports of work at Tottenham House and Conholt Park,
two important Wiltshire houses restored to an exceptional standard, revealed
a wealth of artisanal skills. The aptitude of British craftspeople, architects and designers for breathing new life into buildings and their settings doesn’t only benefit their owners and our heritage, it also creates employment and preserves expertise.

Each year, Country Life shines a spotlight on those practitioners with the knowledge and instincts to get it right. The result is the Country Life Top 100, which appears in this week's issue of the magazine.

John Ruskin’s belief that ‘hand, the head and the heart’ are key to creativity is as pertinent to achieving a beautiful house as any other artistic endeavour. It is for this reason that this year’s Country Life Top 100 includes a number of new additions specialising in artisanal skills, from plasterwork and willow weaving to carving and decorative painting that are some of the ingredients of a beautiful house and garden.

The perception of craft is shifting; within the context of architecture, interior design and gardens, it is recognised as the bedrock of distinctive, beautifully conceived design with a capacity for longevity.

The skills that these newcomers deliver are central to the renaissance of the English country house. So, too, are the materials they celebrate, including the stone, timber and plaster used to create designs in both the traditional and contemporary aesthetics that provide so much of the appeal of Britain’s enviable architectural heritage.

The full Country Life Top 100 for 2025 is published in the March 11, 2026 issue of Country Life magazine, which is out now. The fully-updated Country Life Top 100 list will be available online this weekend.

Interior designers

Studio Squire

In 2020, interior designer Angelica Squire joined forces with her husband, Richie, a construction specialist, to form Studio Squire. Today, this small London-based firm focuses on full-scale home renovations, taking on only a handful of projects each year across London and the South-East. ‘We love bringing clients’ aspirations to life, delivering a hands-on service in which we are usually involved from beginning to end,’ says Mrs Squire.

The studio employs textures and paint colours to deliver interiors in a pared-back style with plenty of interest and character. ‘So much comes from layering, often bringing in artwork, antiques and unusual objects,’ Mrs Squire explains.

Currently engaged on several contemporary apartments in the Chelsea Barracks development, London SW1, the studio is also working on a major residential project in Barnes, SW13, which includes a swimming pool, basement night club and pool house with sauna and ice bath, and is updating a large farmhouse in Oxfordshire for a young family moving from London. ‘We will only grow the studio so much, because we always want to be personally involved in every project — it is important to us to maintain that connection,’ she says.

020–3848 7614; www.studiosquire.co.uk

Vanrenen Hanbury

Headed by Sarah Vanrenen and Laura Hanbury, this Berkshire-based studio has a reputation for creative English country-house design — with a modern twist. ‘We enjoy the variety of what we do, never having a set formula,’ says Mrs Hanbury.

Mrs Vanrenen is the daughter of interior designer Penny Morrison and she credits her mother’s skills as having a profound influence on her work. After studying fine art in Florence, Italy, and spending five years working at Christie’s in London, she set up her own interior-design studio. About seven years ago, she was joined in the practice by Mrs Hanbury, who had trained at KLC School of Interior Design and then worked at leading design studio Mlinaric, Henry and Zervudachi (now known as ZRM). In 2025, they became business partners.

Recent projects include the revamp of a Victorian vicarage in London, the overhaul and extension of a Wiltshire manor house and a new riverside flat in London. The studio also offers a boutique collection of fabrics, lighting and furniture, including the Bluey collection of sofas and armchairs as part of a collaboration with Boura & White.

This spring marks the launch of new fabric collections and brass lighting. ‘In all our work, we like to add a pop of the unexpected, which instantly brings a design up to date,’ explains Mrs Vanrenen.

01488 500206; www.vanrenenhanbury.com

Specialists

Alison Crowther

Alison Crowther is a contemporary sculptor and furniture-maker whose designs are a celebration of English oak. Working with unseasoned timber, she hand carves each piece from monumental trunks — often wind- or storm-felled trees sourced from responsibly managed woodlands in the South Downs National Park, close to her studio. ‘My work responds to the grain, the annual rings, the branches and the unique anatomy of the tree,’ she says. Using traditional hand tools, including carving gouges similar to those used in the 16th century, allows the form to evolve in response to the material.

Ms Crowther studied 3D design at Buckinghamshire College and then furniture design at the Royal College of Art, first coming to prominence with pews she made for the Prior Silkstede Chapel at Winchester Cathedral in 1996. Since then, she has created significant site-specific works, from a 16½ft sculpture for a new tower in Los Angeles, US, to sculptural seating for the gardens at Glyndebourne in East Sussex — together with numerous private commissions, spanning large-scale pieces to fireside chairs and intimate handheld pieces. Her book, Carved: Con-versations with Wood, was self-published in 2025 and is available via her website.

07775 991957; www.alisoncrowther.com

Bernard Dru Oak Flooring

Specialising in solid English oak flooring, bespoke parquet design and architectural joinery, this company is unusual in sourcing timber from its own sustainably managed woodlands in the Haddeo valley on Exmoor, Somerset. The oak and other native hard-woods were originally established by owner Bernard Dru’s great-great-grandfather, who planted on an extensive scale. The 19th-century tracks had eroded over the decades, so Mr Dru has dedicated more than 50 years of his life to making the woodlands accessible once more and to producing the best-quality oak possible. In 2025, his work was honoured with a Royal Forestry Society Bede Howell Silver Award for Excellence in Silviculture.

Today, the company, founded in 1989, is run by Mr Dru and his wife, Catherine. ‘Our oak is admired for its flowery grain, which creates intriguing patterns, its biscuit colour tinged with a grey-pink tone, and the fine slightly etched quality to the grain,’ says Mrs Dru. ‘It also has a tendency to cat’s paw, producing attractive small clusters of knots.’ These are qualities that make its English oak a popular choice for listed and period buildings, with recent work including a new floor as part of the refurbishment of the Banquet-ing House, Whitehall, SW1, and the replication of an old parquet design for Blenheim Palace in Oxfordshire.

01643 841312; www.oakfloor.co.uk

Fretton Handley

Partners in business and life, Clunie Fretton and Felix Handley are capable of a wide range of classical and traditional carving and sculptural commissions. Operating from two studios in London, they founded Fretton Handley in 2016 after they both graduated with distinctions in Ornamental and Historic Wood and Stone Carving from the City & Guilds of London Art School. Ms Fretton specialises in wood carving, Mr Handley in stone carving and, together, they offer bespoke services, from carving and sculpture to gild-ing, restoration, letter carving and inscriptions, memorials and ecclesiastical work. By preference, they work in native British stones and hardwood, but also undertake commissions in a variety of other sculptural materials, such as bronze and plaster.

Commissions vary from coats of arms and sculptures for private clients to work for the Houses of Parliament and the V&A Museum. They have recently completed the carving of a fireplace cartouche as part of the restoration of the Tapestry Drawing Room at Castle Howard in North Yorkshire. Ms Fretton is a member of the Master Carvers’ Association, a body formed in the late 19th century to ensure that high standards of carving be maintained, and chair of the craft committee of The Worshipful Company of Joiners and Ceilers. ‘We enjoy continuing to develop these skills and in being part of the ongoing Western tradition of sculpture,’ she says.

www.frettonhandley.com

Geoffrey Preston Sculpture & Design

Leading architectural sculptor and artist Geoffrey Preston works in plaster, producing highly decorative ceilings, wall panels and more. After studying sculpture at Hornsey College of Art in north London, Mr Preston trained as a stonemason and carver. As a founder director of two of the country’s most respected conservation companies, he worked on the restoration of the 18th-century hand-modelled plasterwork at Uppark, West Sussex, after the 1989 fire. ‘That’s when I realised the artistic potential of plaster,’ he says.

In 2000, he moved to Devon and set up his workshop, which he runs with his wife, Jenny Lawrence, assisted by sculptor Kate Montagne. Most work is first modelled in clay, before a silicone mould is taken from the model and used to make a cast in plaster. He also works in stucco, a form of hand-modelled plaster-work that had its heyday in the 18th century. ‘It is a lime-rich material with its own particular natural beauty and it can be modelled to much greater depth for a bolder result.’

Projects include a high-relief, sculptural plasterwork wall, with mythical sea creatures and marine life, for the bar in The Goring hotel, London SW1, new ceilings for a Grade II- listed house in Dorset and an ornamental stucco panel for the Needle & Thread dress store on the King’s Road in Chelsea, SW3.

01392 811421; www.geoffreypreston.co.uk

Jay Davey Bespoke Willow

Jay Davey has been working with willow for 30 years. Based close to Taunton and the Somerset Levels, Mr Davey uses only locally and sustain-ably grown willow. ‘It is the flexibility of the material and its possibilities — including the opportunity to create curves and flowing lines — that inspire me,’ he says. Mr Davey runs the workshop with his wife, Theresa Decker, and has an order book that is full for months ahead.

He is known for his strikingly artistic creations, on-site weaving and bespoke garden screening and structures. A high-profile piece is the woven- willow onion dome atop the landmark Ribbon Tower at the Glastonbury Festival, which he originally created in 2014 and has looked after and re-woven ever since.

07983 783426; www.jaydavey.co.uk

Meg Boscawen Decorative Artist

In demand as a mural artist transforming walls and ceilings into delightful works of art, London-based Meg Boscawen works on projects all over the world. From large-scale designs to painted furniture, she is known for her delicate touch, considered use of colour and imaginative creations. Recent projects include a painted tented ceiling with striped walls and magical painted wardrobes for a child’s bedroom in Mumbai, India, a watery-blue-sky ceiling with meander-ing foliage in Geneva, Switzerland, a spring-themed mural for a conservatory-dining area in a house in Berkshire and dancing angels and cupids on a ceiling in London.

Ms Boscawen studied printed textiles at Leeds Art University in West Yorkshire before deciding in 2020 to combine her love of interior design and painting. Mentored by specialist craftsman and furniture-maker Rupert Bevan, she trained under leading decorative artists Lizzi Porter and Alistair Erskine. ‘They were so generous with their knowledge,’ she says, ‘and now I, in turn, enjoy training other artists.’ Her commissions come from both interior designers and private clients.

megboscawen.com

Stonewood Builders

This award-winning construction firm specialises in the restoration and conservation of buildings, as well as the construction of bespoke new houses. Stonewood is led by managing director Matt Aitkenhead, whose father, Neil, founded the business in 1972. The head office is in Castle Combe, Wilt-shire, with further offices in Castle Cary, Somerset, and Wantage, Oxfordshire. ‘We employ our own trades and labour, which makes us different, as we are not simply a management contractor,’ says Mr Aitken-head. ‘We have our own artisans who have been trained in house.’ Some 200 employees allow the firm to offer the full spectrum of building skills, including masonry, carpentry, roofing and plastering.

Notable work includes several projects at The Newt hotel and estates in Somerset and The Story of Emily visitor centre in Cornwall. (‘We supplied and fitted the largest single piece of glass on Earth,’ notes Mr Aitkenhead.) The firm has also completed construction of an award-winning rammed-earth house on the Somerset-Wiltshire border, courtyard accommodation, The Glasshouse restaurant at Estelle Manor hotel in Oxford-shire, a fine new house on a large scale in the Cotswolds and the restoration of a Grade I- listed house in Gloucestershire and another at Spetchley Park in Worcestershire.

01249 782293; www.stonewoodbuilders.co.uk

Ask anyone running a business and they’ll tell you that repeat custom is what it’s all about — the golden goose that, tended well, keeps on laying and laying. In the interior design world, this normally looks like finding clients with multiple houses to furnish, unless, that is, you’re Studio Cameron. ‘I don’t quite know how,’ says co-founder Toddy Fleming, but ‘somehow we’ve got our name out there for generational changeovers.’ In other words, the company’s stock in trade has become country houses, passing down through families and in need of new identities that make sense in the 21st century while respectfully honouring the past.

As you might imagine, many of these piles are not only in need of love, but careful phasing — a few rooms here can be done, a few rooms there, but then comes a break. The coffers must be refilled before the next stage can begin. Suddenly, what was one job becomes two, three, maybe more.

This was the case at The Hirsel, a Georgian stately home near Coldstream in the Scottish borders and a seat of the Earls of Home since the early 17th century. To date, Studio Cameron has completed six rooms for the current Earl and Countess, Michael and Sally Douglas-Home, and their three young children: a kitchen-breakfast room, a sitting room, boot room and three bedrooms, with another in the offing. But with near countless rooms across the vast building’s three floors, they have barely begun to scratch the surface.

Brought on in 2022, the brief for Toddy and her business partner Georgie Collingwood-Cameron was ostensibly simple: make the house fit for family life. The challenge, however, was that this house, once the residence of Prime Minister Alec Douglas-Home, 14th Earl of Home, had, like the rest of Britain’s stately homes, not exactly been designed with the joy and jumble of young children in mind. It had also never been finished. Toddy reveals there are 17th-century plans in Hirsel’s archive for a watchtower that never was. She also explains that the 14th Earl, Michael’s grandfather, pulled down great chunks of the house, but didn’t rebuild them. ‘I find it fascinating,’ she says. ‘It feels almost infinite, in a way, because it’s never actually been what it was intended to be.’

Of course, houses like this are infinite, or at least not definite, designed instead to transcend lifetimes; assigned not owners, but custodians for whom the idea of legacy looms larger than for most. It’s why their rooms feel frozen in time, less lived in than occupied, filled with hard-boned furniture and gimlet-eyed portraits. And this is precisely why what Studio Cameron has achieved at Hirsel is so remarkable: a series of comfortable, livable and inviting spaces that don’t stand on ceremony, but still speak fluently the language of the great British country house.

Conceiving the project as ‘an apartment within the house’, Toddy set about reworking a dated lino-floored upstairs kitchenette — presumably used by Home forebears for little more than making the odd cup of tea — applying for permission to knock through into the sitting room next door (above). While the family’s meals are still made in the main kitchen downstairs, this space, with its convivial curved banquette, round dining table and plenty of countertop space for mixing drinks, has been transformed into something light, bright and genuinely useful.

The sitting room (above and main image), meanwhile, is a masterclass in melding old and new — something Toddy says is crucial when looking to create legible ‘balance’ in a room.

Her client, the Countess of Home, is ‘quite a modern girl at heart’, but conscious of the framework in which they were working, the studio were careful to steer her where necessary. This has resulted in a layered approach that finds expression in the introduction of antiques — often sourced in the north Northumberland market town of Wooler, Toddy’s best-kept secret when it comes to second-hand — and timeless textiles by the likes of Nicole Fabre and Flora Soames. These, Toddy feels, ‘bridge the gap somewhat’. They feel familiar to the country house aesthetic and fresh. (Note, for instance, the curtains: almost contemporary in the elegant plain whiteness, were it not for a leading edge of rust and indigo ‘Lynxia’, a Robert Kime textile inspired by a fragment of 19th-century Chinese silk embroidery.) It’s also discernible in the combination of, say, an existing sofa, its handsomely heavy fringing repaired, with a new ottoman by Clock House Furniture and a pair of wavy-edged occasional tables on castors designed by Studio Cameron. These have been stained a rich blue so as not to compete with the antiques and now stand in merry juxtaposition to the exquisitely moulded Georgian fire surround.

The tables speak to the sense of fun and character Toddy was intent on introducing to the rooms at Hirsel. In one of the children’s rooms, the designer worked with a local cabinetmaker named Philip Hitchcock to build the box bed of dreams for any little girl, topped with an ogee arch, fitted with shelves for books and favoured teddies, and finished by decorative painter Katie Forbes.

A different cabinetmaker, Sculleries of Stockbridge, who also designed the kitchen, created the boot room. Perhaps surprisingly in a building of this size, ‘the greatest challenge here was storage,’ reveals Toddy. ‘You’d think there would be enough cupboards in this house, but they’re full — just rammed with the most incredible antiques and silverware.’ (Incidentally, the 14th Earl’s red ministerial despatch box is still kept in the house, though on a chair, rather than squirrelled away.) Among the more awkward items Toddy was charged with finding a home for were the family’s cork-handled fishing rods (the Hirsel Estate owns private rights on the River Tweed). Rather than hiding them in a cabinet, she and Sculleries of Stockbridge devised a pair of notched holders as an elegant solution that celebrates their beauty in the process. These are, admits Toddy, ‘perhaps my favourite things in the whole project’.

Another thing she has enjoyed is witnessing the evolution of Lady Douglas-Home’s own style, something she says she finds reassuring for the remainder of the project. ‘She’s definitely getting braver,’ Toddy says — only a good thing, presumably, when there are so many rooms at Hirsel yet to be tackled. Toddy references an artwork that her client chose and was particularly excited about: an exquisite floral plaster relief by Imprint Casts that hangs in the sitting room. Like Hirsel’s historic portraits and existing antiques, ‘it is special; the kind of thing that will be kept by the family for a very long time and that, I think, rather sums up what we’ve tried to do here,’ says Toddy. ‘We’ve put in bones for the next generation. Someone might change some furnishings or swap a countertop, but I hope that we’ve managed to create something that will stand the test of time.’

It’s an admirable aim — and, looking at all Studio Cameron has done at Hirsel, one it feels like they have achieved. Repeat custom is definitely deserved.

Crafted collection

Penny Morrison’s range of lampshades (main image) is made from Tussor silk and lightweight cotton, with every fold, stitch and trim produced by a small team of artisans in the brand’s Welsh workshop.

Available in sizes from petite 10in shades for bedside tables to dramatic 20in statement pieces, the lampshades can be combined with a range of bases to complete the elegant effect, from £120.

Going soft

Diffusing glare and delivering a soft, even light, the bronze Clarborough Alabaster dish light is a timeless choice. It costs £6,576, from Charles Edwards.

Multi-tasking marvel

The Triple Bendy Pick wall light costs £130 from Pooky and is ideal for lighting countertops, worktops or displays, as each burnished brass shade is mounted on a flexible arm.

Artistic inspiration

Inspired by the creativity of the Bloomsbury Group, the large Vase shade costs £155 and is the work of East Sussex artist Jane McCall. It’s shown atop the hand-painted tall square candle base, £140, both from Bloomsbury Revisited.

Seeing clearly

Forbes & Lomax is renowned for the Invisible Light switch, a minimalist design that allows the wall finish to show through. Now available with a new matte brass toggle, it is shown here on a 1 gang dolly switch, which costs £63.12.

Glass act

Fashioned from reeded glass and brass, the Willow wide wall lanterns are handmade at the Birmingham workshop of J. Adams & Co and cost £1,075.

Game play

Be it mahjong, bridge or poker, the Card Table light with a silk pleated shade, £2,088, is ideal for illuminating a card or games table, from Hector Finch.

Beauty in blue

Julian Chichester’s eye-catching Bubble table lamp features a glazed base. From £413.

Period piece

The handsome Coleman wall light, £3,120 from Jamb, features a single pane of glass and is topped with a dome reminiscent of a bandstand.

Light touch

The Clarendon table lamp in unlacquered brass features a tall base with a reeded column for simple elegance. It costs £720 from Julia Boston Antiques.

Decorative delight

Hand painted in Rajasthan, the Indian red and gold tea caddy lamp base costs £435 and the framed linen shade from £89, both by Susie Watson Designs.

Check it out

Taking its design cue from Provençal interiors, the Aix 10 light pendant, £1,254, is pictured with Doreen shades in peony check, from £54 each, shown with an Aix wall light, £144, from David Hunt.

Take to the floor

Ideal for open-plan spaces, Corston’s smart, solid brass floor sockets are ideal for plugging in lamps that are a distance from the wall. Available in bronze, antique brass (shown here) and polished nickel, the Double 13A and 5A floor socket costs £68.40.

Elegant detail

The Polperro wall light features a sculptural ceramic shade on an antique brass stem and wall plate, softly diffusing light downward. It costs £125 from Neptune.

Layered patina

The Bianca Mini table lamps are made in Porta Romana’s painting studio to create tactile beauty and cost £1,563 each. They are shown here with hand-cast Camelio wall lights, £1,098 each, and a metal Hectate console table, £7,416.

This feature originally appeared in the February 4, 2026, issue of Country Life. Click here for more information on how to subscribe.

Suffolk — £1.5 million

Anyone who loves beams will be in seventh heaven in Chantry Farmhouse, as carved wood appears everywhere — within the walls and on the ceilings — giving the feeling of a walk back through time. The inglenook fireplaces have much the same effect and there are three of varying sizes, with carved bressumers to boot, to sit beside and think how much history has taken place within the walls of this eye-catching Grade II-listed Tudor hall house over the past five centuries. Modern comfort, however, hasn’t been sacrificed for character.

The two are intertwined, not least in the six bedrooms, and the partly vaulted kitchen, a later addition, is bang up to date with a comprehensive range of wall and base units and integrated appliances. Chantry Farmhouse’s location — the village of Denston — is only 10 miles from Newmarket and historic Bury St Edmunds and Cambridge is a 35-minute drive away.

For sale via David Burr — see more details

Cornwall — £1.25 million

Grade II-listed North Tregeare Farmhouse is a ‘late-16th- or early-17th-century, possibly with earlier origins’ property that is accompanied by 19½ acres of land. Everything about this house in Tresmeer is unique — from the shape and size of its windows, one of them an ancient stone mullion, and its stone-arched door that leads into the front porch to its characterful nooks and crannies within. One of the biggest nooks of all is the imposing stone-backed inglenook fireplace that forms a focal point in the cosy sitting room.

The house boasts four bedrooms (one currently on the ground floor) and there are a further two in the spacious self-contained converted barn, offering a potential income stream for new incumbents. North Tregeare can be found at the end of a long no-through road, so the sound of the modern world is usually absent, with only the chirping of birds and the whistles of the wind audible.

For sale via Knight Frank — see more details.

Bedfordshire — £550,000

The agent says of the four-bedroomed Mill Cottage in the village of Thurleigh that it offers ‘generous internal accommodation across two floors and, with scope for annexe-style living, the cottage is perfect for families, down-sizers, or multi-generational households’. On the ground floor, the kitchen/breakfast room features newly installed deep-green Shaker-style cabinetry, solid-wood worktops and a Belfast sink. Steps from this space lead into the spacious 26ft by 12ft reception room, where there is an eye-catching red-brick inglenook fireplace containing a woodburning stove.

Additionally on the ground floor, apart from a dining room and a garden room, there is that potential annexe mentioned by the agent with its double bedroom, family bathroom and second kitchen/sitting room, currently being used as a utility. Outside, the garden, laid mostly to lawn, abuts open countryside, giving a feeling of exceptional spaciousness.

For sale via Fitzjohn Estates — see more details

Cornwall — £740,000

Sancreed is almost on the tip of Cornwall’s toe, so for a getting-away-from-it-all feeling, at the same time as enjoying close proximity to vibrant Penzance, there is probably no better place than Ennis Cottage. This property has been updated and modernised by the current owners and, when they were doing so, they paid heed to the historic features, including the two inglenook fireplaces, which sit within the spacious 28ft by 14ft sitting/dining room, one of them containing a statement Dik Geurts woodburning stove.

Outside, there is a detached studio above the double garage that is currently furnished as a fourth bedroom, in addition to the three within the cottage, offering the potential for a variety of uses.

For sale via Rohrs & Rowe — see more details

Norfolk — £850,000

Characterful features proliferate within Holly Farm, a thatched, Grade II-listed, 17th-century property with three bedrooms (plus another one in an annexe), four reception rooms and a look that would be perfectly suited to the front of a chocolate box. It is the principal sitting room that contains the inglenook fireplace — but one with a difference in this day and age, for it has a range as an inset, on which kettles were once boiled and irons heated.

The annexe is currently let out regularly to holidaymakers, providing a potential income stream for the new owners. Continuing this theme, there is a paddock with five motorhome pitches, plus the possibility of converting the barn, subject to planning permissions. Holly Farm is within walking distance of the village of Happisburgh, which is mentioned in the Domesday Book, and its nearby beaches are sometimes wild, but always wonderful.

For sale via Winkworth — see more details.

This feature originally appeared in the February 11, 2026 issue of Country Life. Click here for more information on how to subscribe.

London Design Week takes place at the Design Centre, Chelsea Harbour, from March 9–13, offering the opportunity to see new launches from more than 135 showrooms plus pop-up house guests, and enjoy an inspiring programme of events.

Here's what to look out for:

Light touch

Birdie Fortescue’s pop-up stand showcases the Vasanti lighting collection of sculptural lamp bases, from £155 each, and patterned shades, from £85 each.

Pattern play

Explore new fabric and wallpaper designs by the Cotswold interior designer and textile artist Cinny Aumonier, on show at the Tissus d’Hélène showroom. The range includes Raine wallpaper in Baked Apple, £305 per 10m roll, inspired by an 18th-century Indian motifs.

Heritage collection

In celebration of its 150th anniversary, the House of Liberty unveils a wallpaper range inspired by its extraordinary design archive, priced from £110 per m. The full glory of the collection — and the latest fabric offerings — can be enjoyed at the Rubelli showroom

Sleeping beauties

Drawing on her knowledge of antiques and instinctive understanding of classical design, Henriette von Stockhausen (above) of VSP Interiors is launching a furniture collection in collaboration with specialist maker Oficina Inglesa. Recognising that antique pieces often present challenges of scale and proportion in modern homes, they have shared their expertise to create a collection of four-poster beds, coronas, bedside tables and chairs to suit today’s interiors. Handcrafted to order, these twin Beaulieu coronas are painted in a VSP custom colour and cost from £2,352 each.

Expressive design

Launching at West One Bathrooms is a collection of elegant tiles by leading American design company Studio McGee in collaboration with tile specialist Ann Sacks. Available in five colours and in square-edge and playfully scalloped formats, the Ashton Meadows collection of ceramic tiles costs from £270 per sq m.

Super women

What can be learnt from the achievements of the world’s greatest female designers and tastemakers, such as Eileen Gray (right)? Which has created the most valuable legacy?

Come and find out at an inspiring event on the first day of London Design Week at 10.30am on Monday, March 9 featuring the interior designer Henri Fitzwilliam-Lay and Anahita Rigby, Tat London founder Charlie Porter and Jennifer Manners, founder of the eponymous rug brand. It will be moderated by Country Life’s Giles Kime and hosted by Hector Finch.

Entry is free. Hector Finch, Design Centre East, Third Floor Chelsea Harbour Design Centre, Lots Road, London SW10 0XF.

The curated home

Join journalist and author India Knight (above), interior designers Jojo Barr of House Nine and Trilbey Gordon of Trilbey Gordon Design + Interiors as they chat to The Times and The Sunday Times interiors editor Katrina Burroughs about rooms that have a story to tell — and the joys of daring experimentation in design.

After the talk, India will sign copies of her book, Home: How to Love it, Live in it, and Find Joy in it (Fig Tree, £22). Thursday, March 12, 11.30am–12.30pm, at the Talk Theatre, Design Club, Second Floor, Design Centre East, tickets cost £10 each. Visit the Design Centre website to book.

The magic of Kit Kemp

On Monday, March 9 from 3pm–4pm, join internationally renowned interior designer and founder of Firmdale Hotels Kit Kemp in conversation with Giles Kime, Executive Editor of Country Life, as they explore her distinctive approach to interiors.

Drawing on her new book, Design Stories, Kit reveals the ideas, inspirations and experience that bring her spaces to life. Reflecting on the relationship between art and interiors and the scope of her family-run practice, which spans hotel and domestic interiors, new builds and the design of textile and ceramic collections, this is a rare opportunity to hear from one of the most influential figures in design.

Afterwards, she will be signing copies of Design Stories (£45, Rizzoli). Talk Theatre, Design Club, Second Floor, Design Centre East. To book tickets, which cost £10, visit the Design Centre website.

This feature originally appeared in the February 18, 2026, issue of Country Life. Click here for more information on how to subscribe.

Although it enjoys fantastic views over Wimbledon Common, beautiful light and strong structural bones, the configuration of this drawing room needed attention. In addition, the historic detailing had also been lost, explains Emma Burns, co-managing director of Sibyl Colefax & John Fowler.

As well as reinstating cornices and skirting, the main challenge was to reconfigure the layout so that it was not connected to a bedroom, as it had been previously, but to a kitchen/dining room. Installing a pair of folding doors means both rooms can be made into cosy, self-contained spaces.

Working closely with her client, the aim was to create a space that was elegant, but unstuffy. ‘He had lots of items from a previous property — including the fireplace — so we were keen to make use of these pieces where possible,’ explains the decorator.

The walls in the drawing room are in Tang Yellow by Papers & Paints, which creates a bold backdrop for the paintings and decorative art. An Indian wall hanging to one side of the fireplace balances the window on the other, as the red lacquered coffee table, an in-house design, and the colourful Swedish rug ensure that the room doesn’t look ‘old-fashioned,’ she says.

John Fowler originally designed the sofa, which is part of the studio’s furniture collection. Here, it has a slip cover with a dressmaker skirt in a Pierre Frey ‘Craft’ linen. The tapestry chairs were found by her client in an antique shop in the Dordogne.

This feature originally appeared in the February 11, 2026, issue of Country Life. Click here for more information on how to subscribe.

On the face of it, open-plan spaces offer plenty of upside: flexibility and, often, an uplifting feeling of airiness. However, as many of us have discovered — especially during lockdown — they offer little in the way of peace, privacy or areas dedicated to specific purposes, such as working, laundry or storage. For some designers, the answer lies in ‘zoning’ (or creating a ‘broken-plan’ layout, for a less Orwellian alternative), which involves defining spaces with furniture or low walls, offering a halfway house between open-plan and fully formed rooms. The result might be a succession of seamless spaces, but it might not suit those who may crave the reassuring embrace of four walls.

There is another way to achieve a similar result that was integral to the design of many English country houses of the past. ‘What the Georgians understood,’ says Merlin Wright, design director of Plain English, ‘was how to create many rooms connected by a glazed corridor.’ It was a common approach in the design of basements, he says, where there were small windows and low levels of light, a way to share the light between rooms. ‘It also provided a chance for housekeepers and senior members of household staff to keep an eye on staff; an early precursor to CCTV.’ Many of the company’s projects incorporate glazed walls in the design of ancillary spaces, such as larders and home offices.

The Courtyard Room at last summer’s WOW!house, designed by Sims Hilditch, demonstrated how glazed walls can be employed to create spaces with dedicated functions without fragmenting them. One feature that attracted significant attention was a boot room and a utility room (complete with a dog shower), which were separate, yet maintained a sense of unity.

Glazed panels are sometimes used, with less success, in other parts of a house, perhaps replacing walls in hallways of London terraces, where they are used to alleviate a sense of pokiness. The choice of steel frames might maximise light, but the result can feel more like an office than a home. They work best in functional rooms, notably bathrooms, where they can create a degree of privacy without slicing up the space.

This feature originally appeared in the January 14, 2026, issue of Country Life. Click here for more information on how to subscribe.

When the owners of a Georgian house in Hampshire asked interior designer Georgie Wykeham for help re-designing their coach house, she could barely push her way in through the door to examine the possibilities.

'It had been used for storage and was a complete wreck. When we managed to clear the space, it revealed an earth floor in the stalls, an expanse of open space and an old hay loft upstairs,’ she explains.

Having decided on an all-purpose entertaining area away from the main house, the clients were keen that the redesign would be as sustainable as possible, reusing materials and remaining true to the original form, hence the decision to retain the stalls and convert each into a kitchen, a dining area and a bar. ‘We rescued everything we could, such as a feeding trough we had lined with copper and which now acts as a sink in the bar,’ explains the designer.

The flooring came from The Main Company, which specialises in reclaimed wood floors. A subterranean wine cellar was installed next to the bar. Rotten ceiling beams were replaced, and a steel joist clad in oak. The kitchen, which was sourced from Howdens, is painted in Tea with Florence by Little Greene. The worktop is made from recycled glass, supplied by Resilica.

Thanks to the built-in banquette, it’s possible to sit up to eight people around the oak dining table and a collection of cushions in different fabrics injects the room with pattern and colour.

Tartan — a rich fabric with an even richer Scottish history. Think of the humble kilt, and potentially what may be lurking underneath. Consider the contents of the Edinburgh Woollen Mill, or the familiar sight of a traditionally-dressed bagpipe player entertaining tourists on Edinburgh’s Royal Mile. Contemplate David Tennant and Gerard Butler in formal dress (I often do). What you might not think of is the picturesque island just off the coast of Massachusetts — Nantucket, USA.

Perhaps you should. This island has now joined Scrooge McDuck, Hello Kitty and an Elvis Presley tribute act in having its own unique tartan listed on the Scottish Register of Tartans. On this Burns Night, what would the esteemed poet think of Scotland’s rich cultural legacy and its influence on the wider world?

‘I wanted to find a way to take the history of Nantucket and sort of codify it and I thought something like a tartan was really interesting because obviously the design has so many symbolic elements that can represent the island,’ says Annie Davidson Watson, founder of Nantucket-based luxury goods brand Steplane. ‘I wanted to have something that had some sort of permanence and was globally recognised; it will be preserved in their archives for life now.’ The tartan — a navy blue, brown, red and grey — is featured on a lambswool throw ($249) and is woven by an independent mill in the Scottish borders.

The design is inspired by the history of Nantucket and its culture, with brown intended to represent the land, echoing Nantucket’s Wampanoag name ‘the faraway land’; blue for the island’s ocean surroundings and maritime history; grey for fog, sea salt and the island’s nickname ‘The Little Grey Lady of the Sea’; and red for the cranberry bogs essential to the Wampanoag diet and the island’s historic red-brick architecture.

‘Also Nantucket has a really rich whaling history,’ says Annie, whose family boasts Scottish heritage. ‘Whaling captains would travel the world and bring home objects from some of the finest makers in the world. So, even though it might seem random, having something from Scotland associated with Nantucket was, I thought, an interesting way to play with that global aspect of the island’s history.’

The pattern of the tartan also pays homage to the Barclay Clan’s tartan design, honouring Robert Barclay, a Scottish Quaker who testified to Parliament in 1774 about the importance of Nantucket’s whale oil to the British Empire. Annie discovered the connection when scouring the island's archives.

It made me wonder. If Nantucket (and Scrooge McDuck and Hello Kitty) has an official tartan, who else does? What’s the process of registering a new design, and where does tartan even come from?

A brief chequered history

Although the oldest tartan-patterned cloth discovered was on the edge of China, it plays a starring role in the national dress of Scotland, and tartan was first described in the country in the 16th century. The Scottish historian John Mair described the ‘over-garment’ of Highlanders in 1521 as being made up of a ‘loose plaid’ over a ‘shift saffron dyed’, under which ‘from the mid-leg to the foot the men of the high land go uncovered’. It was not only adopted by the Highlanders, but is traditionally associated with Highland dress and may have been avoided by some Lowlanders who regarded them as rather uncouth, to put it mildly.

In 1538, however, tartan fell into royal favour. James V ordered a tartan hunting outfit and the fabric proved popular for riding and led to a fashion for tartan trews, which still exists today as a (much less risky on a windy day) alternative to the kilt. It was worn by all in Gaelic society, but red was the prized colour as it was a more expensive dye, thus more likely to be worn by the wealthy. Tartan became a symbol of Jacobitism and, after 1707, a symbol of opposition to the union of the Scottish and English parliaments.

It had largely gone out of vogue among the wealthy by the late 18th century, but was still in use by The Black Watch army regiment in 1739, who were kilted up to police the Highlands, and by subsequent regiments. A common myth about tartan is that after the Battle of Culloden, in 1746, the British government passed an act that forbade its wearing in the Highlands, in an attempt to suppress the rebellious nature of many Scottish clans. This isn’t strictly true. It was Highland clothes that were banned for men and boys — and this is how must people utilized tartan at the time. This was repealed in 1782, after which the Highland revival began. This ran until about 1840, and it’s remained popular ever since.

Today we know of the formalised clan tartans, based on regional differences, and used as a badge of identity. These began as a concept in 1815. ‘There were two significant contributors to this in the 19th century,’ says Peter MacDonald, tartan historian and honorary head of research for the Scottish Tartans Authority. ‘One was George V’s visit in 1822, orchestrated by Sir Walter Scott, who urged everyone to turn up wearing their true tartan to see the King, and then the other thing was obviously Queen Victoria buying Balmoral, falling in love with Scotland and promoting Scotland widely.’

In the present, tartan brings more modern forms of clan — it is the pattern that identifies individual schools via uniforms, as an example. The popular nickname for Scottish football supporters (The Tartan Army) also nods towards a sense of community, as does the use of tartan in the punk movement, perhaps a reference back to the Highlander’s rebellious reputation. Tartan is also widely used in the fashion of Vivienne Westwood, Alexander McQueen and, of course, the instantly recognisable Burberry check, introduced in the 1920s to line the inside of the fashion brand’s iconic trench coats.

Everything else you need to know about tartan including how it’s made and registered

The structure of tartan is actually the same as denim, which is the strongest structure for cloth. Each particular tartan’s pattern is known as a sett. This is made up of a series of lines of different colours and width. The threads that run vertically are referred to as the warp in the cloth, and those that run horizontally are called the weft. Tartan is normally made from dyed wool yarns that are woven on a loom.

New tartans today do not require registration in the Scottish Register of Tartans, which was established by an act of the Scottish Parliament in November, 2008, but many people choose to do so. ‘It doesn't have to be, but people choose to, because it gives them a shop window, in the broader sense, and also it affords some degree of protection with a small ‘p’, insofar as once it's in the public domain, if someone else came along and did something similar, you've got the back reference point [to your design],’ says Peter, who also serves on the panel of the Scottish Register of Tartans that approves new design. The first tartan to be registered with them was, hilariously, none other than the Scottish Register of Tartans’ tartan. This is one of the only instances where the word ‘tartan’ can be used in a tartan’s name. You could only otherwise include the word ‘if you had a company, or something like that, with the word “tartan” in it that was unique, or if you were called something like “Mr and Mrs Tartan,” Peter explains.

To register a new tartan, one must possess a unique design that passes the ‘across the room’ test. ‘If it looks too similar to another then it is likely to be confused,’ Peter says. You must also provide a threadcoat for said design, along with an image, proposed name and fee of £150. Colours involved do not have to have a significance, but they often do. ‘Historically, there would have never been a rationale there as part of the registration process. Today, there's a box that says: “explain the colors”, in which one could simply put: “colours of personal significance”, but some people then seem to think they have to justify the colours,’ Peter says. ‘There is no requirement. There is also no standardised meaning for each individual colour.’

Additionally, according to the register: ‘There must be a clear link between the person registering the tartan and the proposed tartan name.’ The name must be no more than 200 characters in length and must not be used as a means of promoting political ideology. American spellings are generally Anglicised. There are a lot more stipulations, but they are fiddly and only worth explaining if you, dear reader, intend to register a tartan.

Among the weirder officially registered tartan names are Auld Magic of Unicorn (colours: white, gold, green, blue), Bargain Booze (black, grey), Bevy of Pheasants (brown, yellow, red, black, white) and Boring and Dull (red, blue, white). There must, of course, be many weird entries further down the alphabet, but the register has over 10,000 tartans, so forgive me for not venturing further.

The most popular tartans today include the Royal Stewart and Black Watch tartan. The latter likely owes its cult status to tradition, which stated that anybody without a tartan of their own may wear it. It is also known as The Universal or Government tartan and continues to be worn by the Royal Regiment of Scotland today (The Princess of Wales is also a fan — in Scotland she is known instead as the Duchess of Rothesay). The King wears the following tartans: Prince Charles Edward Stewart; Stewart Hunting; Balmoral; Duke of Rothesay and Lord of the Isles; Gordon Highlanders; Black Watch; and The King Charles III, which was designed by Peter. He also wove the material for Prince Harry and Prince William’s first kilts, when they were children (Peter that is, not the King.)

Unsurprisingly, with tartan registration came more and more people and producers who wished to register. Royal fabrics now sit on the list among those belonging to IrnBru and Hello Kitty (see below for more surprising additions). It is a practice that snowballed until it reached as far away as Nantucket. So what does Peter think about it? Is the magic of the tradition of tartan getting lost in this new modern wave? ‘There will always be new ones,’ Peter says. ‘And within all of these there is also that traditional bit that we're trying to preserve and protect, and I think that's really important — to make sure that many of the older traditional, authentic patterns are not lost to history.’ He adds: ‘Anything that keeps the weaving trade and the dying trade and all the other related trades alive and produced in Scotland can only be a good thing.’

With raw plaster walls, skirted lampshades and lattice-fronted cabinets with crenellated details, there’s a certain theatricality to Alice Palmer’s kitchen in a 1930s house in north-west London.

The room is part of a large extension added to the house after she bought it in 2017 and in creating it she took inspiration from the work of the architect and set designer Oliver Messel — whose style she came to know when spending time in the Caribbean as a child. His trademark shade of pale green, which became known as Messel Green, is a particular favourite. ‘I painted the cupboards in a warm neutral called Clunch by Farrow & Ball. The fronts are made from a material intended for radiator covers, as anything custom would have been much more expensive, and I added Yeabridge Green, also by Farrow & Ball, behind to show through subtly,’ she explains.

The work surfaces are in a green onyx that came from a local marble supplier and the green zellige tiles were sourced from Habibi Interiors, which specialises in Moroccan designs. These link to the detail that runs along the top of the cupboards. ‘They were inspired by a trip to Morocco,’ says Alice. ‘This room is so light, I like the idea of feeling that I’m not in London.’

Above the island hangs a trio of lampshades that forms part of her collection, which she designed when pregnant with her third child. Her range has expanded to include fabrics, such as the red-and-white stripe used as a cabinet curtain in the glazed pantry. ‘As a rule, I like to use fabrics of similar colours, in different patterns to break up the look, but not be too out there,’ she adds. The floors are laid with limestone tiles from Mandarin Stone.

This feature originally appeared in the January 14, 2026 issue of Country Life. Click here for more information on how to subscribe.

In a world of ever-proliferating design choices, it can be helpful to understand your design aesthetic. Are you a curator who carefully edits every last detail? A sympathiser who stops at nothing to preserve the authenticity of a house? A dramatist who loves the theatricality of pattern and colour? Or do you not care, as long as a room feels comfortable and pleasingly familiar? Take the Country Life quiz to find the answer.

The questions

If you were to buy a chair, what would be the most important element to you?

a) It’s made by an obscure designer whose name you struggle to pronounce

b) It has a beautiful silhouette that beautifully complements the rest of the room

c) It’s the same age as your house The fact that it’s uncomfortable is a minor detail. You’re a slave to authenticity

d) It’s sufficiently commodious to watch a whole series of Yellowstone in one sitting and upholstered in a fabric dark enough to hide a multitude of sins, from red wine to melted Maltesers

When choosing paintings, you are most likely to buy the following:

a) Pieces by artists that you tracked down after an exhaustive trawl of galleries and auction houses

b) Something larger than life, in a style and colour that suits the rest of the room

c) The correct period, genre and provenance are of paramount importance

d) Buy? You already have enough unhung hand-me-downs and junk-shop finds to fill the National Gallery

What best describes your kitchen?

a) A carefully considered space where anything aesthetically pleasing is put on display and anything depressingly functional is hidden from view

b) Your cabinetry is in a bold colour (you are considering a deep aubergine next) and you are forever rearranging the vibrant mix of cheery patterned china on the dresser

c) Culinary chiaroscuro; it’s like a half-lit kitchen in a Renaissance painting

d) Think Keith Floyd meets Tracey Emin

What best describes your bathroom?

a) It’s a Japanese-inspired shrine to the ritual of bathing that is devoid of clutter, with everything from your potions and unguents to brushes and tweezers discreetly stored in carefully concealed fitted cabinetry. You loved this space until a former friend (now relegated to a frenemy) complained that it had ‘abattoir vibes’

b) It might be a bathroom, but it could also pass for a sitting room, with prints on the wall, a rug and (for some unfathomable reason) a small armchair and occasional table

c) It’s a celebration of Victorian plumbing with a roll-top bath, putty-coloured paint, metro tiles, brass taps and lots of tongue-and-groove panelling that you feel is most sympathetic to the spirit of your house

d) The last owners left a lovely, deep-pile carpet in a fetching apricot hue (dating from about 1985), and you have rather learned to love it

When choosing a floor, you are most likely to opt for one of the following:

a) Something recessive and pared back, such as pale parquet, poured concrete or oak boards

b) A large patterned rug that coordinates with the rest of the scheme

c) You’d ideally like to restore the original floor. However, if it’s beyond redemption, you’ll find reclaimed timber or stone that looks as if it’s been in situ for centuries

d) A nice deep-pile, wall-to-wall carpet is just the ticket

How do you feel about photographs?

a) You would consider black-and-white art photography, ideally still lifes

b) If you have children, you’d consider professionally shot, large-scale photographs displayed and lit, gallery-style, in your kitchen

c) The only photographs you possess are in your passport, on your driving licence and in treasured ‘before and after’ shots of your restoration project

d) There are few horizontal surfaces in your house not populated with framed pictures of family, friends, weddings, graduations and the dearly departed

Where do you buy your paint?

a) Anywhere that sells an almost infinite range of whites

b) Where don’t you buy your paint? You have an extensive sample library and, at last count, half a dozen boxes of paint charts

c) You only use lime wash

d) There are usually some unfinished cans in your garage that will do

The answers

Mostly 'a' answers: curator

Your home isn’t merely a place to live, it’s also a gallery space for showing off your oh-so-carefully chosen collections. Your focus is on quality rather than quantity; perhaps studio pottery, some modern British paintings and even a collection of jelly moulds or woven baskets artfully arranged in your kitchen.

You hunt far and wide, from art fairs to galleries, deepening your knowledge as you fine tune your collections, adding here and subtracting there. Displays are installed with minute precision and your interiors are designed to serve as a foil to the distinctive character of what you have amassed on your travels: white walls, recessed lighting (including some directional spots), clean-lined, Modernist furniture, mostly 20th-century classics by Eames, Saarinen and Jacobsen.

You have plenty of bespoke joinery and you see your picture hanger more often than your dentist.

Favourite design destinations The Design Museum; most cities in Scandinavia

Biggest design extravagance Your collections and Vitsœ shelving

Your aesthetic heroes Axel Vervoordt, Chester Jones and Edmund de Waal

Mostly 'B' answers: dramatist

Your home isn’t simply somewhere to live, it’s a stage on which you play the starring role and every element contributes to the theatricality of the spaces you’ve created.

You love ‘colour drenching’ (painting everything the same hue) in dark, moody shades and making bold statements with large-scale patterned fabrics and wallpaper, bold rugs and chequered floors.

You love pictorial wallpapers and larger-than-life pictures, as well as ‘gallery walls’ crowded with decorative daubs. You’re not afraid of over-scaled furniture, even in small spaces, and you don’t give a monkey’s about provenance as long as something fits in with your ever-evolving ‘vision’ for your house, the flames of which are fanned by whatever you last saw on Instagram.

Favourite design destinations Farrow & Ball, Colefax and Fowler, Anthropologie

Biggest design extravagances Fabrics, wallpapers, upholstery, glossy interior-design books

Your aesthetic heroes The late, great Roger Banks-Pye — and you also harbour a secret admiration for the sheer bravado of Laurence Llewelyn-Bowen

Mostly 'C' answers: sympathiser

Dolly Parton might have said that it costs a lot to look cheap, but you know exactly how expensive it is to keep your house looking old. Where you have had to make structural changes, you try to use reclaimed materials. What the rest of us call ‘a project’, you call an intervention — or ‘scholarly intervention’ when you use a revered restoration specialist.

However, the poor thermal efficiency, lack of natural light and vast sums of money seem a small price to pay for living in a house that is true to its historic roots. Besides, you find the chilly gloom so atmospheric and have re-discovered the joys of Thermolactyl clothing.

Huge amounts of research mean that you are very much in tune with the spirit of your house; trawling through censuses reveals past occupants whose lives have been lost in the mists of time, but with whom you now feel you have a very real connection.

You are fanatical about revealing and preserving what you call the ‘bones’ of the house, and the words ‘extension’, ‘roof light’ and ‘TV room’ make you shudder. Conversely, your carefully tended rooms, seen in flickering candlelight, are balm to your solar plexus.

Favourite design destinations Spitalfields; the Weald & Downland Living Museum, in West Sussex; Labour and Wait; your local salvage yard

Biggest design extravagances Antiques, restoration and planning applications

Your aesthetic heroes Dan Cruickshank, Maria Speake and Dennis Severs

Mostly 'D' answers: conscientious objector

You haven’t done much to your house since you moved in and you feel that it has evolved very pleasingly over the years, thanks to the things you’ve stumbled upon, gifts from friends and amazing bargains.

You are definitely of a more maximalist bent than minimalist, not least because it would mean having to discard too many cherished treasures. You love your creature comforts, in particular your favourite inherited armchair, which has moulded to your shape like a pair of handmade shoes (as it did to the curves of your ancestors). You know your favourite sofa has seen better days, but a throw always freshens it up.

Favourite design destination Dunelm

Biggest design extravagance Letting loose on Facebook Marketplace

Your aesthetic heroes Uncle Monty. His drawing room in Withnail and I is the happy place in your head

This feature originally appeared in the December 10/17, 2025, issue of Country Life. Click here for more information on how to subscribe.'

When former model Laura Berkeley-Hawkes and her husband, a feng shui consultant, decided to leave London during the pandemic, the move had an accidental outcome: it became a catalyst for a new family business.

Having looked at nearly 50 houses in a variety of locations within two hours’ drive of the capital, the couple landed on an early 18th-century Grade II-listed converted barn with four bedrooms that had once been owned by the Bathurst Estate in Cirencester, Gloucestershire. As soon as they drove through the gates, they knew it was the one. Up until that point, all three of their children had been raised surrounded by floor plans, as the couple moved around the capital, renovating run-down houses and turning them into successful shoot locations for commercial and television productions. The experience had impressed on Gracy, the eldest, the impact of good interior design. This new property presented the perfect opportunity for mother and daughter to join forces and set up their own eponymous design studio, Berkeley Hawkes.

The barn was several steps away, both in design and layout, from their previous home — an Victorian detached house in Ealing. Originally two buildings standing back-to-back — a cart shed and a threshing barn — it had been turned into a house in the 1990s when the estate converted a farm into separate houses and sold them off. There had been, at the time, and remained, limitations as to what could be changed as a result of the listing; nevertheless, it had the bones of an attractive home, once elements, including a bright yellow kitchen and vinyl grey floors, were removed. ‘When we arrived for the viewing, there was a rather eccentric owner who had never watched TV and the place was crammed with antiques and pianos,’ says Laura. ‘But it had a stunning garden and there was something special about the house; we knew it was right for us.’

Unlike many barn conversions, there isn’t a vast, double-height room at the centre of the property — an aspect which immediately appealed. Nor is there a large amount of glazing, which typically replaces what would’ve been the opening for farm machinery when the building was still in agricultural use. ‘The layout was quirky, because it was two structures in one,’ explains Laura. The original conversion had been done with small windows and the bedrooms were all in the steeply pitched attic space. ‘While the listed status prevented enlarging the windows, except in the kitchen, we aimed to ensure that the rooms had as much natural light as possible, so we reorganised the layout, removing some of the stud walls that had been put up in the 1990s,’ says Gracy.

Work began a year or so after the couple moved in and involved creating a large, broken-plan kitchen and dining room and converting a back corridor into a new, glazed china room, or pantry. They also created a guest bedroom and bathroom downstairs and reorganised the master bedroom that had previously been a succession of small spaces into one generous suite with a bathroom and plenty of built-in storage. Standard radiators were replaced with cast-iron versions throughout.

Decoratively, the aim was to nod to the original Georgian farmstead while maintaining a firm handhold on the property’s agricultural roots. Hence, the quiet yet impactful contrast between rustic oak boards and chunky sisal matting on the bedroom floors against the elegant wall panelling in the main living rooms and classically inspired kitchen cabinetry. The result is a deftly managed balance between rustic and refined, the old and the more modern. ‘Ultimately, it’s not just how everything looks, but how the space flows and feels to touch,’ says Laura. ‘We’re drawn to natural materials,’ continues her daughter. ‘The oak floors were crafted using beams salvaged from agricultural buildings across Europe to quietly honour the barn’s history. We love to work with honed marbles, soft wools, velvets, materials that feel grounding, human and that become more imperfect over time.’

There’s a serenity awarded to each of the spaces that comes from an approach that is the opposite of cluttered: maximalist and busy rooms are not within their design DNA. Each piece has its own space so that it can be seen and appreciated. One stand-out element is an unusual shellwork chair that was spotted in the auction catalogue of the Belgian antique dealer Paul De Grande, who was selling off his collection from his base in Bruges. It now generates the most interest of all their work on social media. ‘My mother has a near obsession with shells and so I knew we had to have it,’ says Gracy. No courier was prepared to deliver such a delicate item. In the end, the pair drove to Belgium in their Mini and returned with the chair wrapped in duvets.

Neutral walls throughout provide a backdrop to lots of carefully chosen works of modern art, antiques, 20th-century furniture and a selection of sofas and chairs upholstered in warm velvets and textured linen. The kitchen cabinets were designed in-house and made by a local joiner and hand-painted in a warm burgundy red gloss to match the La Cornue cooker. In the hallway, a trio of framed maps of London found in the Old Cinema in Chiswick stand leaning up against the wall, while pattern makes a rare appearance in the form of a tablecloth made by Studio Blackwell in Sainval velvet by Watts 1874 — a design taken from a 16th-century verdure tapestry.

The fireplace in the living room is new and lends the space a much-needed focal point. ‘There is pattern here,’ the pair counter, ‘it’s just that we’re drawn to particular types of patterns such as European damasks in rich colours and English stripes. You won’t find any block prints or chintzes.’ The dining room was too large just to house a table, so they created a games area where people can sit on slipper sofas from Lorfords around a woodburner from Charnwood. ‘A lot of people end up with a dining room they rarely use, so here we’ve given this space a dual purpose,’ says Gracy. ‘It works, too. At Christmas, people play games while others are cooking in the kitchen.’ The rustic table sitting alongside the Regency chairs is an example of that desire to make spaces look good but too precious. ‘The result is a home shaped by contrast, history and touch. One that’s rich in atmosphere and deeply attuned to its setting.’

Visit the Berkeley Hawkes website for more information.

Lacquer

It’s easy to forget that light was once a prized commodity (beeswax for the well heeled, tallow for the rest). Shiny surfaces, whether silk, silver or crystal — or gilded, mirrored and polished — were intended to maximise their effect. Today, shininess is back in similarly high demand and lacquer, in particular, is bouncing light around discreetly lit interiors.

Moorish

The Moorish renaissance is thanks to the celebration of eclecticism that has precipitated a revival of everything from brown furniture and tribal art to folky textiles and lustreware. Expect to see it creeping into cabinetry very soon.

Egyptian

The new Grand Museum in Cairo (home to 100,000 artefacts, including the complete collection of King Tutankhamun’s treasures) is sure to fan the flames of Egyptomania that have been smouldering since the Parisian fabric house Pierre Frey launched its The Merveilles D’Egypte collection inspired by the Egyptian antiquities in the Louvre in 2022.

Considered eclecticism

Some may loftily declare that eclecticism never went away, but its 2026 incarnation will be different. In the past, eclecticism owed more to cluttered (and usually rather dusty) decorative accretions rather than any coherent thought. Therein lies the distinction; eclecticism is back, but it is carefully considered, beautifully presented and won’t make you feel as if you took the wrong turning in a flea market.

Coloured appliances

Understandably, given the expense, there’s been a tendency to err on the side of caution when choosing colour for a kitchen. Happily, more people are becoming more devil-may-care, injecting spicy warmth into both cabinetry and appliances — or simply a bold colour that makes them happy. It’s not too much to ask? Surely?

Chequerboard floors

You should need little reminding that the 1980s are back. Together with yellow walls, painted furniture and swagged curtains (yes, really), chequered floors are offering an opportunity to add a touch of long-lost country-house glamour to hallways (even if you live in a terrace in Parsons Green).

This feature originally appeared in the December 31, 2025, issue of Country Life. Click here for more information on how to subscribe.

It takes imagination to turn a disused building into something with purpose. But turning a disused building into something with a purpose that’s entirely open-ended takes vision of a different sort.

Charlie Lovell had that vision.

In late 2019, his parents, who live on an old farm near Newbury, named Monksmead, were wondering what they could do with its former milking parlour, which had begun to crumble. In the decades since they sold the cattle that had trooped in and out every morning, the L-shaped structure had been used for storage, partitioned and fitted with a series of rough concrete floors of varying levels. Years of weather damage (and unglazed apertures) meant that parts of the roof were collapsing, the internal timbers turning to rot. The Lovells knew they had to do something, they just didn’t know what.

Happily, Charlie was in the perfect position to advise. An interior designer by training, he now runs — with his brother Harry — Youngman Lovell, a carbon-neutral, custom house-building business. He set about a plan in earnest and, when lockdown hit in early 2020 — by which time he had retreated to Monksmead from London — the wheels were in motion. However, where others might have come up with a design for a straightforward annexe, party barn or games room, Charlie decided on something altogether more ambiguous — a space that could be any of these things, but could also be simply an empty building, perfectly preserved.

Charlie spent much of his childhood at Monksmead. At that time, a stockman named Arthur Dollin had worked the farmland. Before the herds of Guernsey cattle had gone, the milking parlour had been Arthur’s domain. ‘He had the most extraordinary countryside knowledge,’ Charlie recalls, citing this connection to the environment as one of the key inspirations for his plans for the design. ‘In a world where we are increasingly disconnected from nature, and by extension ourselves, it is my belief that we should be creating places that reconnect us with our naturalness,’ he says. ‘As Leo Tolstoy put it: “One of the first conditions of happiness is that the link between humans and nature shall not be broken.” And so for me, the point of the building is just to keep it as honest as possible.’

That desire for honesty led every decision Charlie made when renewing the old milking parlour — which has, in the years since its completion, been used for everything from weddings and parties, to yoga classes and fashion photography shoots for the likes of Tatler and Barbour.

The designer worked hard to save as many of the original roof tiles as possible (he thinks he only had to source 10% new) and experimented with mixing natural renders made using the seams of clay that streak the soil at Monksmead. While there are windows now, as well as plumbing and electricity (with loos, a shower and a kitchen in the shorter branch of the L-shape, dubbed ‘Arthur’s Pass’ in homage), there is no insulation or central heating. The floor is as it was a hundred years ago, except for some ‘beautiful pockmarks made when we were jackhammering the concrete layers out’.

That ‘we’ is important, as Charlie is keen to stress how much of a collaborative project this was. ‘Lockdown was obviously a pretty crap time for many people, with lots of tradespeople having to just sit on their hands,’ he says. ‘And yet suddenly we had this project and we were able to reach out to people.’ As well as Charlie and his three brothers, there was Nick the bricklayer, Lee the bricklayer, Jack and his techno-loving, chain-smoking brother (welders who made all the window frames for each individually shaped aperture), Tom from DRS Construction, master craftsman Ben Rye, lighting designer Maxwell Barlow… The list goes on. Before long, Charlie had enlisted garden designer Tabi Jackson Gee into the ranks too. Charlie was introduced to Tabi by a mutual friend and taken by her sustainable and longevity-focused approach to landscape.

Convincing his parents, while in the middle of building works, to allocate yet more money towards an ostensibly unnecessary landscaping project could have been ‘a bit of a hard sell’ — especially as they were already indulging a number of what he calls his ‘architectural follies’, such as flint-embedded steps and walls with gently curved tops. However, Charlie’s clients, who are passionate about supporting young talent, trusted him implicitly.

They were right to.

Tabi says the plot, which the team had recently cleared of rampant Portuguese laurel, felt less like a domestic garden than a ‘pocket landscape’. She knew that what she created would only be in occasional use, that it might be the setting for events and photoshoots, that it had to require little to no maintenance and that, like the building, it needed to be in communion with its context. But beyond that, she was left to her own devices. Where some may have struggled with such an open brief, Tabi revelled in the opportunity to create an ‘in-between place, somewhere more non-garden than garden’. In search of an ‘organic, fluid’ composition, she looked to the plot’s surroundings, alighting on a giant oak tree that overlooks the site. In the curvilinear silhouette of one of its leaves, she found her layout, tracing its outline into a flowing arrangement of paths and beds.

The planting choices that followed were, in many ways, straightforward, informed by the clay soil and the fact that, beyond very occasional watering, the garden — where deer and rabbits are wont to nibble — would receive little day-to-day care. Now, reed and moor grasses and hardy perennials such as woodland sage, Mediterranean sea holly and dusky cranesbill join tough shrubs like rosemary and evergreen barberry to provide a steady, simple show of textures and tones that gently evolve throughout the year. In many ways, not having to think about the concerns that drive a more conventional garden — changing colours, the timings of bulbs, the placement of firepits and dining tables — was ‘incredibly creatively liberating’. At no point did Tabi find herself scratching her head, or butting up against her clients’ ideas; instead, the Lovells’ responsiveness to ideas was a great gift, allowing her to create something she is truly proud of. Given that Charlie’s parents have now enlisted her to work on the more formal gardens across the rest of Monksmead, and that Charlie has similarly employed Tabi to work on Youngman Lovell projects, it seems her clients are proud of what she has done here too.

Charlie believes that the old milking parlour’s transformation owes much to its timing; without lockdown and the sense of togetherness it made us all crave, it simply wouldn’t have happened — or at least not in the way it did. Ultimately, this sentiment underscores the sense of community, collaboration and environmental connection that runs through the building. But that is just one thread of this story. The potential of adaptive reuse is another, as is the importance of experimentation. Above all, however, the milking parlour speaks persuasively of possibility, that precious, intangible, hope-filled thing, something summed up perfectly by Charlie, when he says: ‘We live in a world where everything has to have a reason. People ask “Why, why, why?” And I think the answer is “Why not?”’

Blenheim Palace

In Britain, only one building may call itself a ‘palace’ without the backing of Crown or cathedral — Blenheim. Built as a monumental gift to John Churchill, 1st Duke of Marlborough for his military victories, it was conceived less as a home and more as a testament to spectacle. Its size and grandeur were designed to impress and entertain, not just to be lived in. Over the centuries, the Dukes of Marlborough hosted lavish parties, often theatrical and ostentatious in equal measure.

This year, Blenheim has rebranded itself for the festive season as The Palace of Oz — with L. Frank Baum’s beloved characters and a yellow brick road. An after-dark light trail winds through the grounds, whilst an Emerald City afternoon tea awaits in the Orangery for those who prefer their adventures seated. A Christmas market, ice skating and an observation wheel complete the scene, proving that Blenheim can still put on a good show — and still lives up to its riotous reputation.

Holkham Hall

It’s no surprise that Holkham Hall was designed by not one, but several of the 18th century’s architectural and landscaping heavyweights. Set amid Norfolk’s deer park and windswept coast, this honey-hued Palladian mansion is as exquisite as the grounds in which it sits.

Classical influences are evident at every turn. The infamous central hall — or Marble Hall — was modelled on Rome’s Pantheon with a soaring 15-metre ceiling. Despite the misleading nickname, the hall isn’t actually made from marble, but pink Derbyshire alabaster.

Holkham, built as a ‘temple to the arts’, is also home to an impressive collection of classical Roman statuary, assembled by the original owner, Thomas Coke, over approximately six years of travel through Europe during his Grand Tour.

Chatsworth House

Chatsworth, long the Cavendish family seat and forever entwined with its on-screen identity as Pemberley, has teamed up with acclaimed British artists and animators to create an immersive, multi-sensory Christmas wonder. The theme, The Enchanted Garden, celebrates the beauty and resilience of the natural world at Chatsworth.

Inside, 20 rooms have been transformed with light, shadow and sound, weaving together treasures from the Devonshire Collection with new commissions from renowned regional artists and sculptors. The festivities continue outside with a luminous trail through the grounds, culminating in the house itself becoming the canvas for a sweeping projected lightshow.

From gracing our screens to staging scenes like this, Chatsworth has never been one to shy away from a little drama.

Harewood House

Maximalism is in. At least Siobhan Murphy, the interior designer responsible for Harewood House’s Christmas display, seems to think so. Think: an enormous Christmas tree made from 700 pink tutus, another — blue this time — made from flowers, giant paper baubles and God knows what else.

Exuberant decorations fill every room, from oversized garlands to tiny, meticulously detailed miniatures crafted by nine specialist artists, including internationally exhibited Michael Robbins and 13-year-old prodigy Arabella Duffy. The result is wonderfully mad, bursting with personality — unlike any festive display you’ve seen before.

Belvoir Castle

Belvoir Castle has been home to the Manners family — later the Dukes of Rutland — since the early 16th century, making it one of the longest continuously inhabited noble estates in England. Its name, Belvoir, is pronounced ‘Beaver’ — a linguistic legacy from the Norman French for ‘beautiful view’. Local tradition has kept the unexpected pronunciation for centuries, much to the confusion of first-time visitors and the amusement of everyone else.

This year’s Magical Night Before Christmas theme features a charming mouse trail, indulgent festive afternoon tea, Santa’s Grotto and whimsical storybook decor — a fitting tribute to a place whose very name promises a beautiful view.