DE S IGN CENTRE
both permanence and change”. In London, Rosanna Bossom, who has collaborated with Rifat Ozbek on both the private members’ club, 5 Hertford Street, and the soon-to-open Maxime’s in New York, as well as the newly refurbished Julie’s Restaurant in Holland Park, transformed a farmhouse for clients where she adhered to the tried and trusted hierarchy between scales. Yet she also employed a fresh mix of pattern, rather than the classic option of floral and checks; a large scale suzani on an ottoman takes centre stage, supported by three stripes of different widths and a small print at the window. As with all classic schemes it feels right: “It’s amazing how a wide range of patterns all come together over time,” she says. It’s similar to the approach employed by Sarah
Vanrenen when she decorated a modern apartment that she describes as looking like “a succession of boxes” for a client who had moved from a country house. To bring a subtle texture to the space that previously had little more than a developer’s bland finish, she used a grasscloth on the walls and injected
colour by painting the bookcase with Edward Bulmer’s ‘Vert de Mer’. “The cabinetry – and its contents – provided a useful way to create a focus in this otherwise anonymous space,” she says. Working with his existing furniture and artwork, she employed a classic ingredient in many traditional English rooms – a large, patterned rug that pulls together
“I EMBRACE THE WONKY AND DON’T OBSESS OVER SYMMETRY”
disparate items that include brown furniture and a collection of antique china. Bold colour, a hallmark of the traditional English
interiors, was also employed by Sarah Peake when she decorated a Grade-II listed lateral apartment in Notting Hill, where the brief was to focus on texture, bold colour and craftsmanship. In the bedroom, she used a stripe to create the foundation of the scheme,
while Vaughan’s ‘Milas Embroidered Linen’ on the curtains, an elaborate headboard and a textured yellow wallpaper ensure that this is a space that is very much of its time. The Hampshire-based interior designer Nels
Crosthwaite Eyre says that her work is informed by the ‘old bones’ of the 18th-century manor house she shares with her husband and two sons. Having started her career working for the legendary designer Robert Kime she celebrates the past rather than iron out its imperfections. “I embrace the wonky and don’t obsess over symmetry,” she says. Like her mentor, she is never afraid to add layer upon layer of pattern, notably in her own drawing room where fabrics from both Lewis & Wood and Ralph Lauren Home complement a rich mix of rugs and ceramics. Meanwhile the Henley-on-Thames practice Ham
Interiors creates arresting designs rooted in classical principles. When designing kitchens, founder Tom Cox plunders the rich seam of inspiration offered by the furnishings of Georgian ‘below stairs’ rooms that were not only beautiful but also useful, brilliantly
ABOVE, LEFT TO RIGHT: Henley-based practice Ham Interiors brings a classical simplicity to a newly constructed country house; Sarah Peake used Vaughan’s ‘Milas Embroidered Linen’ on the bedroom curtains in this Grade-II listed Notting Hill apartment, a fabric based on a 17th-century archive document that still feels fresh today OPPOSITE, TOP TO BOTTOM: Designer Nels Crosthwaite Eyre’s
drawing room in her 18th-century manor house layers up the pattern to create a charmingly relaxed look, with fabrics that include Lewis & Wood’s ‘Benaki’ fabric on the curtains; Ben Pentreath gave classic Morris & Co. designs such as ‘Willow Bough’ a vibrant new life by recolouring them in unexpected hues for the Queen Square collection – pictured here in Pentreath’s own home
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