EAST MEETS WEST

This is a truly modern style that runs like a thread through all my work

Oriental cultures are still the biggest influence on me; it’s a theme that comes back again and again in my work because the Eastern notions of tranquillity and subtle texture ring very true in my heart, and they have done so right from the beginning of my career. And although such philosophies of design can also be quite rigid and formulated, they come from the point of view that simplicity and order create calmness and harmony; and that alignment, rows of things and repetition all enhance balance, and I love that. But the way I use these influences works because it’s always just a taste of the East, and this, mixed with contemporary Western design, makes my style decidedly modern. This is what creates homes that are clean-lined and contemporary, simple yet exotic.

Tantalizingly glimpsed through Eastern-style black linen panels, the bed in this perfectly balanced composition has been dressed with a sensuous mix of fabrics that soften its concrete base and create a warm mood: off-white ostrich leather for the padded headboard, mouse-grey satin for the eiderdown, charcoal flannel for the stacked cushions and red velvet for the runner. It is this flash of rich colour that draws the eye.

Contrasts of texture, shape and proportion are achieved in this simple but effective display of three miniature glass-encased moss balls, placed centrally on three shiny black-lacquered Flibuste tables by Christian Liaigre. The round shapes contrast with the ridges of the rug, which is reminiscent of the raked gravel in a Zen garden.

FUSION

By designing instinctively, as I do, interpreting my clients’ wants and needs for their home, I have found that blending Eastern elements and design principles into Western interiors is a seamless process that results in the most balanced, elegant homes that are easy to live in and that suit our modern way of life. A comfortable, inviting home should be both contemporary and flexible, functional, fit for purpose and serving the needs of all who live there, but with touches of originality and style that make it truly personal and a joy to be in.

As a very visual person, I am constantly inspired by all that is around me – fashion, art, landscapes, buildings, objects, people and the natural world. That spark of creativity never stops and it is what drives me to keep designing and evolving my style. Influences from other cultures have always played a big part in this, particularly those of Southeast Asia, China and Japan, but also Africa, India and Europe.

The objects and treasures you bring into your home reveal a lot about your personality and, whatever their origins, the important thing is that they connect with your sensibilities and resonate with each other. A neutral colour scheme makes a restrained backdrop for an eclectic interior, as it won’t fight for attention but offers quiet layers of interest and texture to offset displays, art and star pieces. One of the things I love most about Eastern design is the respect for natural materials and traditional skills and craftsmanship, so East-meets-West interiors will invariably feature natural or stained wood, stone, bronze, lacquer, natural matting and linen.

There is beauty in simplicity. All these interior details perfectly illustrate how an understated but texturally rich neutral colour scheme, with natural woods and linens, and accents of black or charcoal, allows the Eastern elements to sing. Items such as a bronze Buddha, lacquered boxes, scrolls decorated with calligraphy and simple ceramics all strike the right note in a home decorated with a fusion of Eastern and Western styles.

TRADITION

Eastern interiors are typically designed to create an optimum balance of opposites – yin and yang, feminine and masculine, dark and light, coolness and warmth, curved and straight. Value is placed on humble materials and beauty is found in everyday items. The use of colour tends to be clean, assured and graphic. Carefully considered splashes of rich, deep or bright colours are introduced to neutral or monochrome palettes to add bold contrast and arrest the attention. Typically, lacquer-red, burnt orange, saffron, magenta, indigo or emerald are tempered with shades of white, cream or black to outline and define. As with other aspects of Eastern design, restraint is the order of the day; a subtle injection of one or two bold hues has the greatest impact. The textures and finishes of the various elements have a great impact on the mood of a space. Many jewel-like hues shine brightest in rich textures, such as glossy lacquer, deep-pile velvet, heavy raw silk or ornate brocade, which all engender an opulent feel. Play with contrasts: think of the effect of a rough-weave rug layered on polished dark floorboards, a shiny lacquer box on a rustic wood table, a mother-of-pearl button on a cashmere cushion, or a silk trim on a linen curtain.

Inspiration for decorative schemes can be found in all things, from the view of a landscape that provides the basis for a colour palette, to the sash on a traditional Japanese kimono that is reinterpreted as a silk cushion band, to the carved panelling in an Indonesian temple that becomes the basis for a screen in an open-plan space. With the unifying force of the Internet, as well as the ease of global travel and trade, the cross-fertilization between cultures has never been so pronounced nor have these influences been more instantly accessible; they are, quite literally, at our fingertips.

A cosy seating area is made warm and inviting by the traditional colour combination of mellow, earthy shades of terracotta offset by cream, black, neutral tones and natural wood. The divan upholstered in striped linen fabric is piled high with cushions in true East-meets-West style.

ABOVE AND BELOW: Simple objects can be elevated to greater importance when grouped together in an interesting way. Humble white pots, arranged asymmetrically to arrest the eye, stand out beautifully against the dark wood of this display cabinet and contrast dramatically with the opulent gold dragon, while the open door of an antique cupboard reveals an intriguing collection of Oriental scrolls.

SIMPLICITY

It is not only how things look that strike a chord with me but also how they make me feel, and it is perhaps the calm, harmonious qualities of the Eastern aesthetic that speak the loudest to me. As the pace of modern life and, along with it, the accumulation of material possessions seem to accelerate at an alarming rate, the Eastern love for simplicity and order is easy to relate to. We are constantly advised that decluttering our homes and workspaces of unnecessary items will lead to a clearer mind and a calmer mood, where we can relax, breathe, identify our priorities and work out what makes us truly happy and fulfilled. When I design, I always follow the principles of feng shui, the ancient Chinese art that ensures the free flow of energy within a space and harmonizes it in order to optimize the health and good fortune of its inhabitants.

A tranquil home is a joy to return to after the demands of the day – a peaceful haven filled with objects, art, music and scent that lift the spirit and feed the soul. A light, airy, uncluttered interior with a thread of continuity throughout also maximizes the sense of space in homes that are not as generously sized as we would like. Having fewer objects and multipurpose furniture lets you appreciate architectural details and brings the qualities of materials, design and workmanship to the fore. With its pared-back simplicity, clean lines and neutral tones, combined with rich textural contrasts, touches of glamour and confident injections of colour and individuality, East meets West is a style that has underpinned my work ever since I began designing interiors.

Rectangular panels of sandblasted glass echo the geometric wall decoration and contrast with the curved lamp stand. The panels are reminiscent of a Japanese rice-paper screen and create interesting effects of transparency and opacity without blocking the light.

This wide pivoting door opens to offer a view into the space beyond, also decorated in off-white tones. Continuity is further achieved by the symmetrical repetition of the pairs of narrow windows, which tie in with the long, thin door handles and together emphasize the vertical grid.

The mezzanine area above the double door makes the most of the space and houses two large storage baskets. Materials and colours are kept neutral, with the only decoration being the two vertical banners of calico and scrim, which emphasize the doorway, and the moss balls on the stairs, echoed by the plants on the windowsill in the room beyond.