Collecting pattern and texture

I don’t want to walk into a room and feel as though it’s been instantly created. I think what’s unique about British design is that it isn’t matching; it’s a jumble of old and new, different patterns, and varying textures. It creates an effortless look, and I love that. The British textile tradition of beautiful weaves and patterns, individuality and craftsmanship really contributes to it. I don’t have a rule about layering textiles, although there’s always something that ties them together. I did a big sofa recently with lots of cushions, using stripes in different scales and colours, and the thread that held them together was the stripe. A colour can also hold everything together, allowing you to use different patterns within the same palette. I don’t want a sofa to look as though it’s instantly happened. The magic happens when pieces look as though they’ve been bought over time and layered: with variation and something unexpected.

I think my confidence in mixing and layering textiles has grown over the years. As I’ve done more interiors, I’ve become more confident in trusting my instinct and knowing that something is going to work. In Beki Bright’s collection, the Staffordshire print has a slightly block-printed, mid-century feel, which isn’t something I’d normally work towards. But there’s something about it that tells a story. It’s playful and whimsical, and I love the animals and leaves. I could imagine using it in a children’s room, a family room or a kitchen; it would make a really lovely fabric for a window seat. That element of storytelling is what I want to achieve in my interiors. I think I’ve always had that instinct, but as I’ve grown in my work, I’ve become more confident in backing myself and saying, no, this is going to be great. I’ve leaned into that much more recently.