TOUCH

Layers of texture inject essential warmth or coolness to any scheme

I always say that designing with fabrics is like cooking with spices. It’s the combinations that make them work: consider coarse linens with delicate silks, dense velvets against translucent sheers. Here, the sum is definitely greater than the parts. For example, you could take a beautiful Fortuny silk, but it only really becomes exciting to me if you shock it with a piece of hessian, or even towelling if used in a bathroom. My philosophy is to take what is safe and then add a twist to it. For me, texture and tactility are what really give a space soul. A room must feel good, thrilling your fingertips and teasing your toes, as well as look good, and so fabrics, alongside the hard finishes for each room, are integral to all of my designs from the very beginning. When I start a new project I gather together all the materials, colours and finishes I want to use before I decide where to use them – assigning them to curtains, furnishings, accessories or even flooring comes later.

Mixing up textures within a scheme is a true hallmark of my style of design, creating drama in the unexpected pairings and harmony in the yin-yang dynamic as they intensify and balance out each other’s qualities. Ripped or slashed fabric, such as this linen scrim blind in Stephen Webster’s jewellery store, gives an irreverent twist to a conventional material, here paired with a glossy wood sill and damask upholstery.

Without textural contrast, neutral and monochrome interiors look dull and lack the vitality that makes them welcoming places to be. The elegant curves of this chair are enhanced by the ribbed cotton upholstery that extends all the way down its legs, while light filtering through the geometrically cut-out curtain behind throws patterns onto it and the wool carpet.

On a contemporary roof terrace, this wall of water designed by Randle Siddeley takes texture to a new level, especially when juxtaposed with palms.

A high-shine metal mantelpiece with a cascade of chainmail makes a dramatic and unusual focal point as a faux fireplace.

TEXTURE

The textural mix introduced on surfaces, furniture, furnishings and objects plays a large part in defining the overall mood of a space. Materials such as coarse linen or wool, distressed wood and stone create a rustic, organic feel very different from a palette of polished plaster, dark wood, lacquer and leather, which creates a chic, urban vibe. Different textures will inject warmth or coolness into a scheme, too. Consider the effect, both on the eye and to the touch, of a deep-pile silk carpet, a cashmere throw and velvet cushions, compared to a polished marble floor, a glass tabletop and silk curtains.

The organic twists of the branches are silhouetted against the white wall, while the rough stone pot contrasts with the smooth wood.

Marble globes are a foil for the charred bricks and slate hearth of a traditional fireplace.

The transparent and reflective qualities of the glass vases are accentuated by the enclosed roses and almost invisible shelf.

The unexpected mix of wire, ceramic balls and silver ceramic side tables bounce off each other, the linen chair and silk carpet.

Purple glass vases gleam smokily against a wall of marble, while the lilies echo its white veins.

Buttery suede ottomans on shaggy sheepskin on silk carpet are the ultimate in tactile textures.

TEXTILES

Creating bold juxtapositions and interesting mixes of materials, finishes, fabrics and forms is a process that underpins my work at every level. The art of good design is about finding a collection of tones and textures that sit comfortably together and enhance the characteristics of one another. Playing around with samples of paints, surfaces and fabrics is essential to see which combination produces the harmonious effect and mood you are aiming for.

Building up a fabric story with a pleasing balance of tones and textures is a great way to add layers of comfort and character to a space. It is the first element I consider when I am designing a room, as it is what sets the mood, colour palette and textural interplay that inform the dynamics of the other ingredients. Linen is nearly always the foundation material, as it provides such a good base for any decorating scheme and works well in combination with so many other fabrics, from glamorous silk, lace and velvet, to luxe leather, suede and cashmere, to earthy tweed, mohair and felt. Linen comes in a wide range of weights and finishes; it may be soft, rough, coarse, sheer, glazed, metallic, damask or printed.

Once you have a family of fabrics that you love, you can begin allocating them to different uses, bearing in mind colour, texture, drape and practicality. Decide which are the dominant fabrics – large expanses such as sofas and curtains are generally best kept plain and neutral – and then allocate another for a statement chair and others for trims, borders, cushions, runners and bands. The textural laws of opposites attracting applies: a silk trim on a wool throw, a velvet band around a damask cushion, or an open-weave curtain over a glazed-linen blind are particularly effective.

Bronze mesh fabric has been layered over a natural linen curtain, so its soft tones, which tie in with the wood floor, are visible through the open weave.

Adding warmth and comfort, the caramel stripes of this velvet-and-linen cushion match the chair’s cane seat and echo the lines of its wood frame.

A central runner of textured taupe leather brings a luxe quality to the pull-out drawers of a black wood storage unit.

The fine texture of unlined linen is brought to the fore when light shines through it and doesn’t conceal the wooden grid of the French doors.

A rich, dark palette is made luxurious and glamorous by the choice of fabrics. The banquette is upholstered in damask, with cushions in tactile silk velvet.

The close-up of the damask upholstery shows the effectiveness of the cross-stitch detailing, a traditional upholstery technique for marking the position for buttons to be sewn on. Here, it is simply used to add another layer of texture.

A monochrome scheme is enlivened by the use of black lace to overlay cream linen cushions, creating a whole new texture that is both sexy and playful, especially when combined with the self-patterned upholstery.

The subtle sheen on the black silk seat of this 1930s-style Italian stool complements the glossy finish of its honey-coloured wood. Its simple curves echo the intricate latticework of the antique screen behind, which is wittily repeated by the embroidery on the linen cushion.