chapter 3
Some of the best elements of French design are evident in this bedroom. Soft old white linen, curvy cabriole legs on the nightstands, classical elements on the bed and soft-colored light paintwork combine to provide comfort and sophistication.
A bedroom in a beautiful French château conjures up romantic images of a boudoir decorated in soft colors with delicate furniture, swathed in light and flowing fabrics. This is the inspiration of Madame de Pompadour, the powerful mistress of Louis XV, who made her mark on both French culture and interior decorating with her exquisite taste and intellect. She introduced the idea of femininity into design, and in particular the boudoir, creating a room that was more than a bed chamber—it was a private place where a woman could relax. Indeed the word boudoir comes from bouder, meaning to sulk—perhaps the word was used as a non-threatening way of getting away from the menfolk.
This side table epitomizes French style—it is simple and practical but has graceful, delicate, and discrete lines.
ROCOCO EXTRAVAGANCE
The typical rococo bed has a rounded curvy headboard with a central, carved asymmetrical shell-like motif repeated on the center of the sides. The footboard is a smaller copy of the headboard. In high château style the bed would also be painted and gilded to match the paneled walls. Shell white, ivory, dove gray, and sugar almond pinks and blues contrasted with moldings in warm gold. A dressing table that was more like a small bureau with drawers and an opening lid, a small canapé, bergere chairs and decorative gilded mirrors would often complete the room. This was essentially a very pretty room made grander with flowery toiles and finest silks.
The rococo era came to an end towards the last part of the 18th century and in its place came a return of a more minimal and architectural look. This period has given us the distinctive and still popular sleigh, or boat-shape, bed. Like so much French design its creation was influenced by a woman. The wife of a rich and influential banker commissioned Louis Berthault to design her house, which he did with Greco-Roman friezes and wall panels, marble floors, and mahogany furniture. The boat-shaped bed he designed for her was made of solid mahogany. It had straight sides and scroll top, decorated with sculpted bronze swans and gilt-bronze mounts. Over this a circular coronet was suspended from the ceiling and hung with creamy white fabric that had been decorated with stars along the leading edge. Napoleon’s bed in the Château de Malmaison in Paris was more like a daybed with firm tubular bolsters either end and an upturned “V” shape of white striped fabric draped over the bed’s sides. If rococo was feminine, this design style was definitely masculine.
A château in France can mean the grandest palace or a large country house. In any case, the château has inspired the rest of the world to use a soft and sophisticated palette of neutral colors with whites. Cottons and linens, with subtle variations in texture, sit well with the formal carved wood and plasterwork decorations.
What we see nowadays is an amalgamation of the rococo and later neo-classical designs—charming, painted carved beds with coronet drapes, and painted sleigh beds with attractive fabrics. To go with this, keep curtains simple. Use vintage, or modern, linens, or even silks, with a bold decorative braid along the leading edge.
Although the bedroom in the manoir is more restrained and less grand than the one found in the château, it is still very appealing and has been much copied all over the world. Beds, both reproduction and vintage, are available in many styles. Carved, rococo bedheads decorated with small flowers or a simple curlicue, painted and distressed in soft colors, look charming. The Directoire typically has a triangular shape with a raised urn in the center, although others combine straight and curved lines. Some curved and upholstered bedheads have wooden carved molding, like bergere chairs. If you want something unusual, consider using a piece of paneling from an armoire as a bedhead, or use one of the many coronets on the market, either one that has a straightforward band of metal or a more elaborate flowery version.
The walls of this cottage bathroom have been painted a deep olive green with the beams given an elegant wash of grayed white.
ORIGINAL BEDLINEN
The art of bed making in France is, like many other things, subtly different from other parts of Europe. Duvets are unpopular, and the French like to use a traversin—a long bolster pillow that runs the width of the bed against the bedhead in front of which will be square pillows, either all in white or in different but toning colors. The French tend to sleep between two sheets with a blanket and third sheet over the top, with a quilt for warmth. Nightstands or bedside tables do not have to match. The tables, or chevets, may be of a similar design but one will often be large with a marble top, the other plain and small.
This original bed is from the Directoire period at the end of the 18th century when design was becoming more architectural and classical. It has been upholstered in natural linen studded around the edges. On the bed is a lovely old tasseled pillow with appliquéd pieces of embroidered linen and ticking. The room’s furniture has been painted in olive green and various whites, then waxed to give a patina of age. The beams have been painted in white to tone with the very soft pink plaster, so as not to interrupt the classical lines of the bed and the lamp base.
Curtains are kept light and unstructured. As shutters are used throughout France on the outside of the house, there is little need for heavy fabric. A simple, floppy heading, or small, ungathered heading, on linen curtains looks very natural and pretty.
Several elements of a typical Provençal bedroom are displayed here—the floor is tiled, there is an old and distressed wooden rush-seated bench for two, and on the lovely four poster, wrought-iron bed lies an appliquéd and quilted bedcover.
Light voile curtains protect the room from the heat and glare of the sun.
The Provençal bedroom is a light and airy affair. A wrought-iron four poster bed, hung with translucent fabric that has been loosely tied at the top, is a main feature. It stands on a stone or tiled floor. Light, summery fabrics at shuttered windows keep out winter drafts and turn the simplest country design into a sophisticated look.
THE TRADITIONAL BOUTIS
A traditional bedroom in Provence, perhaps on the coast around Marseilles, would have a snowy white boutis, or thin quilt, on the bed in pride of place. This scalloped-edged quilt, decorated with all sorts of intricate raised patterns from stripes to trailing leaves, pineapples, and flowers, is the lighter summer cover for the bed and would have been made by the women in the family. Traditional sewing methods, sometimes called Marseilles or Marcella embroidery, are still practiced and it is possible to learn how to make these beautiful quilts. Nowadays, all sorts of boutis are available in every colour and pattern. Traditionally used fabrics, called indienne, came from India and China, via Marseilles, and are now what many people identify with Provence. They have small flowery or paisley patterns in off-beat colors, such as combinations of yellow ochers, tomato red, and bottle green. Use a boutis with several pillows to match for the bed and chairs, and reflect these colors in the bathroom.
The popularity of wrought ironwork in Provence is probably a result of the region’s proximity to Spain, where craftsmanship with metal reached a pinnacle. Bedsteads are often painted in sandy grays and soft gray greens, and a painted metalwork chandelier or lantern is also part of the Provençal look. Search for them in flea markets, along with fold-away single beds, cots, and daybeds as well as marble-topped tables that can be used in the bathroom
White is the obvious choice for Provence, enhanced by the colors of the area. Paint walls in fresh pale olive greens and woodwork in lavender blues, and match these with white-painted furniture and fabrics. For a tropical Cote d’Azur style, choose a brighter colored boutis for the bedroom.
ALTERNATIVE LOOK
A more rustic image of Provence was immortalized by Van Gogh in his painting of his bedroom in Arles. The floor is wood and the single bed is chunky and wooden. A row of hooks is fixed low down on the wall for hanging clothes and the room is furnished with plain rush-seated chairs. There are no curtains at the window, just shutters to keep out the strong sun. The walls are a soft pale blue. Use lavender everywhere, of course, in the bedroom and bathroom, for its relaxing properties.
The drama of haute couture and the fashion world is never far away from interior design in Paris. Jeanne Lanvin, one of the most influential fashion designers in the 1920s, even developed an interior design section to her business in her later years. At the Musée des Arts Décoratifs in Paris, some rooms from her apartment have been reproduced to show her innovative and bold style.
The slightly saucy 1920s poster advertising a seaside resort in the north of France, when coupled with the old French glass lampshade, the painting and the little cabinets, gives this bathroom a Parisian look and nostalgic appeal.
RADICAL BATHROOMS
Jeanne Lanvin’s bathroom and bedroom are inspirational for their radical, chic, and fashion-led approach. The bathroom is a supreme example of art deco, with white walls, black metalwork, and black, white, and beige marble set in triangular shapes. The bath itself is oval and made from marble.
Lanvin’s bedroom is lined in vivid blue silk, the color found in Italian Renaissance paintings, and embroidered with white daisies, roses, and palms in honor of her daughter Marguerite.
Be inspired by these bold statements and make your Parisian bedroom and bathroom extravagant, drawing on ideas, materials, and colors from the France’s rich decorating past. For instance, there are now wonderful cheeky new French designers who have brought toile de Jouy up to date with zebras and highwaymen, teddy bears and the Eiffel tower. Line the walls of your bedroom with fabric, have a four-poster bed with fabric hangings, and include chandeliers and large, gilded, ornate mirrors.
This antithesis of a modern, fully fitted bathroom has the feel of a room that just happens to have a bath in it. The mood is set by the blue glass chandelier, which immediately draws our attention, and enhanced by an eclectic array of French objects, including the marble-topped chiffonier, the statue, and the neo-classical urn positioned over the far mirror.
Curtain poles are often integral to the look of a room, especially a bedroom, and should not be neglected. Here a beautiful wooden pole has been painted to display ornate, French, 19th-century, brass, acanthus-leaf design curtain rings. The painting technique described can be used on any small wooden item where a dragged or stringed effect is wanted.
YOU WILL NEED
Curtain pole
250 ml mid-tone paint
Brushes
100 ml neutral tone paint
250 ml clear wax
Cloth
1 Paint a wooden curtain pole in a mid-tone color, such as Château Grey.
2 Next, brush on a layer of thinned-down paint in a soft neutral putty color, such as Country Grey.
3 While still damp, carefully wipe off the second layer with a damp cloth so the paint is gently streaked. When dry, apply two layers of wax. Polish the pole on the second day to ensure the rings run smoothly.
If you have a suitably sized window, beautiful old French linen sheets can make unusual curtains. The linen should allow for the window drop plus at least 6 in. for the heading. Old sheets are often a warm, creamy white and can sometimes be found with delicately embroidered monograms. Finding an identical pair will be difficult, so you may have to compromise with two that are similar. The curtains can hang from either a big, floppy, untailored heading or a stiffer, ruffle.
YOU WILL NEED
Old embroidered sheets
Scissors
Needle and cotton
Sewing machine
Pins
Strip of thicker fabric (optional)
Curtain heading
1 On a vintage sheet, the monogram usually lies at the foot of the bed, in the center, so that it can be read as you look at the bed. To turn the sheet into a curtain with the monogram at the top, fold the monogrammed end over so there is a large overhang.
2 To give strength and weight to the top of the curtain, cut a 3 in. strip of fabric from the bottom of the sheet, hem it and sew it on to the top of the sheet. You will then have to rehem the bottom. Alternatively, use a separate piece of suitable cotton fabric.
3 Pin, tack, and sew a heading for a gathered curtain along the top of the sheet.
The voile used to make these curtains is a mix of linen and cotton—a translucent fabric that also has texture and a good weight. Instead of sewing the heading tape to the top of the curtain, position it about 4 in. down, so that the ruffle extends over the curtain rings.
4 Pull up the gathers of the curtain until the fabric is the right width and spaced as you want it. Tie the heading threads. Pull the fabric out a little in the center, where the embroidery falls, so that the detail can be clearly seen.
This typical Louis XI style armoire has a removable chapeau and base, and the door is made without hinges—two pins in the top and base fit into corresponding holes. When I found it in a flea market, it had been partly repainted and in the door was a mirror that had been added at a later date. Removing the mirror revealed dark creamy paintwork, which inspired the color scheme for its renovation—a pale brown putty color with white for the raised moldings. Patination was added with dark and clear waxes.
YOU WILL NEED
Country Grey Chalk Paint
Old White Chalk Paint
Paint brushes
Artist’s brush (small)
Clear wax
Very fine sandpaper
Dark wax
Lint-free cloth
Transforming a run-down old armoire into a useful wardrobe is very satisfying, and this one makes a delightful addition to a country-style bedroom. The old hooks have been kept and a bar added. Note that it is not essential for armoires to have shelves to be authentic.
1 Apply two layers of a soft water based paint so that the original paint is completely covered. Move the brush in different directions as you paint, rather than just up and down, to create a little texture. This is so that, when you apply the darker wax in step 5, the texture will show and help to give the surface a patina.
2 Allow to dry then, using an artist’s brush, paint a not-too-bright white over the moldings. This does not have to be done very carefully. It is best to lay the brush on its side, applying the paint in a wiping action, rather than trying to delineate and cover the whole molding.
3 Dip the brush into the clear wax so that it is well covered—this is helpful for reaching into all the nooks and crannies of the raised moldings. The aim is for the wax to soak into the paint, not to create a layer of thick wax.
4 Use a piece of very fine sandpaper to rub gently over the surface, particularly over the edges and moldings. Remove the paint entirely to reveal the wood in some places and, in others, just rub off the white to reveal the brown gray underneath.
5 Apply the dark wax, concentrating on the edges and moldings. Use a scrubbing motion so that the wax sinks into all the brush lines and into any indentations in the wood. Spread the wax thinly and avoid creating any areas of thick wax.
6 Using a soft cotton cloth, such as on old sheet, well dipped into clear wax, wipe over the surface of the armoire. Keep a clean cloth ready to wipe off the excess.
alternative uses
The same technique can be used on all sorts of furniture with more layers and many different colors. Chalk paint absorbs wax easily so the final result can be buffed to create a soft shine.
On the cool, tiled floor of a country bedroom, the warmth of wood can add the perfect finishing touch. Here the washed wood of the chair and mirror contrast also with the chunky painted table and the natural wood of the birdcage. Using this technique allows the grain of the wood to show through and the effect is faded and very soft.
YOU WILL NEED
2 sponges
100 ml water based paint
Cloth
1 Find furniture made from porous wood that has not been varnished. Dip a sponge dampened with water into slightly diluted water based paint and wipe it over the wood. Take care in the corners that you don’t get a build up of paint. You might need another sponge to smooth these areas away.
2 Depending on how much wood you want to show through, wipe off the excess paint with a cloth. The wood grain is quite well defined on this chair and the white paint helps to bring it out. The mirror in the background has less paint taken off as the wood has few markings on it.
The fabric used here is of a cotton linen mix, decorated with cicadas, the motif of the South of France. It is loosely tied to the decorative semi-circular coronet with tapes, in typical Provençal style.
YOU WILL NEED
Coronet
100 ml Old White Chalk Paint
Paintbrush
Fabric for hangings
Needle and cotton
Pins
1 First, paint the metal coronet in Old White. The idea is to avoid working paint into the recesses, so being careful not to overload the brush, use its edges, rather than just the tip, to cover just the raised areas of the flowers and leaves.
2 Measure the fabric for the hangings, allowing double the width of the coronet plus the drop to the floor. Include extra for hems top and bottom. Fold, iron, pin, and tack the edges of the fabric.
3 Neatly hem top and bottom. Make sure the hems are not too large, especially if the foldovers are obvious. Here the hem is about 2 in. deep.
4 For the tapes, cut lengths of the same fabric at least 24 in. long and 2 in. wide. Fold them in half, right sides facing, sew along the length and turn inside out. Tack the center of each tape to the hanging, evenly spaced.
Toile de Jouy and a striped fabric combine well in this sweet lavender-filled heart. Use tracing paper to isolate the scene you want to emphasize on the front of the heart and take care to include a loop of ribbon to use as a hanger.
YOU WILL NEED
Tracing paper and pencil
Scissors
Toile de Jouy and a matching fabric
Needle and cotton
Pins
Ribbon
Batting to fill
Lavender
1 Draw and cut out the shape of a heart on tracing paper. Then make a second template for the part of the heart in striped fabric, adding 1 in. along the straight edge. Pin the templates to the fabric and cut out both shapes.
2 Pin the striped fabric onto on heart shape, right sides facing, so that it is in the correct position when folded out. Pin, tack, and sew the seam, making certain you have a neat straight line.
3 With the stripy second half folded out, place the two heart shapes right sides facing. Cut a piece of ribbon, fold it in half then place it inside the heart, tacking in place as shown.
4 To make sure the heart doesn’t pucker when you turn it right side out, snip the fabric around the top arcs. Sew the two heart shapes together, leaving a gap along one side of about 2 in.
5 Turn the heart right side out and stuff it with some batting or cotton wool and some fresh lavender heads either from the yard or from a store.
alternative uses
Enlarge the heart to use as a small pillow, capitalizing on the relaxing properties of lavender. To give a more rustic feel, replace the batting with wheat and use a plain linen decorated with little buttons or braid.
This lampshade was inspired by urban fashion of the 1950s—gathered skirts that were often tied with a ribbon at the top. Choose a soft, light fabric that hangs well, such as the linen and cotton mix used here. A vintage fabric that has lost all its stiffening would also work. well, and give a different look. The collared lampshade—which is available from specialist makers—needs to be covered with a plain backing fabric so that the light is not too bright or harsh. The amount of fabric you need will probably be more than you initially think. Instructions are for a 8½ in. high lampshade. The diameter is 5⅔ in. at the top, increasing to 11 in. at the bottom.
YOU WILL NEED
Lampshade frame
Double-sided tape
Scissors
Cream cotton lining fabric
Fabric adhesive
Cotton bias binding
Pins
Sewing machine
15 1/2 in. of main fabric
Cotton thread
1 yd elastic thread
Large sewing needle
1 yd. ribbon
The soft linen check fabric and burgundy velvet ribbon give the shade a demure look. By using outrageous and vintage retro fabrics, you could make it look more boho chic or jazzy. Spotted, striped or vintage braid or ribbon could be used with a plain fabric. This velvet ribbon is wide enough to cover the knot when tied around the shade.
1 Cover the top and bottom circles of the frame with some strong double-sided tape. Remove the backing from the tape when you are ready to begin covering the lampshade.
gathered skirt
lampshade
2 Cut approximately 12 in. of the cream cotton lining material and, leaving the first ⅜ in. free, start sticking the fabric around the bottom ring. Also leave about 1 in. at the end to act as a positioning guide. This is later trimmed off. Tuck in the end of your fabric underneath the flap left at the beginning. Stretch the fabric to the top of the frame and stick in place, pleating as you go to take account of the smaller circle. When you have finished, apply a small dab of strong clear fabric adhesive under each pleat then trim off the excess fabric, top and bottom.
3 To cover and neaten the two top rings and the bottom of the frame, wind cotton bias binding around the circumference of one of the top rings. Allowing about 2 in. excess, secure with a pin, then machine sew straight across the crossover (shown in the red line above). Make a second ring for the collared area. Repeat a third time, making a larger ring for the bottom of the frame. Secure the bias binding rings in place with strong fabric adhesive.
4 Join the seam of the main fabric, making a circle and overlapping to neaten the edge.
5 Turn over ¾ in. for the top edge and press, then turn again allowing a 2 in. hem, pin, and press. Stitch along the bottom edge of the hem, reverse stitching to secure the end of the stitching line. To make a channel for the elasticated thread, stitch a second row about ½ in. up from the first, reverse stitching again at the end.
6 Make a deeper bottom hem for the skirt, allowing an extra 1 ¾ in. in length so that it hangs over the edge of the metal lampshade. Press the skirt well.
7 Thread a large needle with the elasticated thread and push it through the channel, then draw up the gathers as tightly as possible to fit around the smaller ring. Knot the ends securely and cut off the excess elastic. Push the knot into the channel opening.
8 Tie a length of ribbon of your choice around the lampshade and knot in place.
