Laura Chesters of the Antiques Trade Gazette has written a profile (31 October 2026) of a long-time exhibitor at our fairs. Here’s an extract from Laura’s feature which you can read in full online.

Meret Oppenheim (1913-1985), Traccia Table, gold leaf, wood & bronze, produced by Simon Gavina, Italy, 1970s (Zigzag Modern); small kilim-covered ottoman, c1880 (Brown Elliot); tasselled cushions & antique textiles (Su Mason); Pr maiolica vases by Henri Delcourt, c1930, fitted as lamps (Home Bothy)

Antiques dealer Mark Goodger has recently welcomed his son Jake into the business; they exhibited together as colleagues for the first time at  The Decorative Fair this autumn.

For more than three decades, Mark has built a reputation as a trusted destination for collectors, enthusiasts and interior connoisseurs seeking refined antique boxes, tea caddies and decorative objects. What began as a modest passion for restoration has grown into an internationally recognised dealership grounded in knowledge, authenticity and a deep respect for historic design. Mark Goodger has shown regularly at Battersea since 2009.

From rare boxes and historic tea caddies to fine accessories and distinctive decorative pieces, every item is carefully selected for its quality, provenance and use of unusual and exotic materials.

From left to right: Tunbridge Ware folk house sewing box, sycamore and naïvely painted on all sides, English, c.1800, Naïve folk art cottage sewing box, English, c1800, Rare sewing compendium inspired by Nash’s Brighton Pavilion, English c1825, Satinwood tea caddy with floral inlays, English c1790.

Mark says: “Battersea provided the perfect opportunity for Jake’s first introduction to the world of exhibiting, meeting clients, handling stock and experiencing the fair first hand alongside me.”

Jake, who has previously gained experience in cabinetmaking, will be studying on the job with a focus on restoration and conservation. He told ATG: “I am really looking forward to getting stuck into the restoration side of the business, as I know my dad has many trade secrets to pass on.”

Mark Goodger’s stand at The Decorative Fair

Jake will work closely as Mark’s understudy, shadowing him in all aspects of the business. Mark adds: “I believe it is essential for him to gain a thorough understanding of the trade, learning not just about the antiques themselves, but also the many different elements involved in running a successful business.

“This will include early-morning buying trips, attending antiques fairs, meeting fellow dealers, and understanding the importance of building and maintaining relationships within the trade. And, of course, there is the real pleasure of spending time at the workbench in our workshop, learning more about the pieces themselves, their construction, conservation and restoration.”

Mark Goodger – Rolls Royce Silver Spirit of Ecstasy Book Ends

Mark Goodger Antiques exhibits at numerous premier fairs each year as well as selling online, from catalogues and from its showroom in Leicestershire. Around 50% of its business comes through fairs.

According to Mark: “The Battersea Fair is a particularly important fixture in our calendar, taking place three times a year. It is a wonderful fair, bringing together a diverse mix of dealers and clients, with beautifully curated room sets. It is also encouraging to see so many enthusiastic younger dealers entering the trade and honing their skills.”

Mark Goodger Antiques – Engineers Model Train

Mark believes fairs remain an important part of the antiques trade: “A customer may not necessarily purchase at the fair itself, but we believe that the more often people see us and engage with us, the more comfortable and confident they become in buying from us, whether at a future fair or, just as importantly, online. Building these relationships is invaluable to us, and we see every fair as an opportunity to make new connections and strengthen existing ones.”

Will Jake attract a new generation of buyers? He says: “I absolutely hope I’ll be attracting a younger crowd and some new faces, building on the business’s existing strengths while embracing new opportunities and ensuring we remain relevant and accessible to the next generation of collectors.”

Mark Goodger – novelty letterbox attrib Lewis Foreman Day c1880

London’s first major antiques event of the year, The Decorative Fair Winter edition is a beacon of inspiration to antiques, design and art lovers. Held at Evolution London, Battersea Park from Tuesday 19 to Sunday 24 January 2027, come and discover unique objects, from the beautifully practical to the rare and extraordinary, for interior and exterior decoration.

Explore fine and fun antiques, 20th-century design and decorative collectors’ items dating from the 1700s to the 1970s, sourced from around the British Isles and internationally. There’s also an expansive variety of art spanning antiquity to the present day, including paintings, prints, sculpture, studio pottery and natural history items. The Fair appeals to buyers hunting for one-off, individual objects and to those seeking sophisticated style with character.

Established and emerging dealers from across the UK show at the Fair, plus talented young exhibitors bringing fresh perspectives to collecting areas and the latest design trends to the fore. Between them, find a diversity of styles and plenty of unexpected surprises to delight to the eye.

Around 130 specialist dealers present furniture, textiles, lighting, mirrors, decorative objects and works of art – the widest selection of any premier antiques fair. One of the Fair’s most important USP’s is the broad variety of stock at all price points, and dealers in collectables and smaller items such as silverware, glass, ceramics and china, treen, jewellery, vintage watches and couture are strongly represented at the Fair.

Meret Oppenheim (1913-1985), Traccia Table, gold leaf, wood & bronze, produced by Simon Gavina, Italy, 1970s (Zigzag Modern); small kilim-covered ottoman, c1880 (Brown Elliot); tasselled cushions & antique textiles (Su Mason); Pr maiolica vases by Henri Delcourt, c1930, fitted as lamps (Home Bothy)

Winter is the perfect time to bring richness, warmth and extra light to an interior. Find distinctive, impactful and useful ‘go anywhere’ items: mirrors from small to vast, lamps, chandeliers and floor lights, occasional tables and chairs, glossy glass or polished wood side and coffee tables. Or invest in

a luxurious, traditionally-upholstered plush armchair or sofa to curl up in – those by Howard & Sons are perennially popular, or Danish C20th designs for a more modern feel are highly sought after.

Edwardian sofa (Macintosh Antiques); French 1940s walnut armchairs (Rkade Studio Antiques); armchair by Fritz Hansen, Model 1672, Danish, 1940s (Mid Century Design Haus)

European or British antique textiles – toile de jouy, hand-stitched quilts, Provençal prints, Asian weavings such as tree of life or suzani panels, verdure tapestries and framed embroideries all hang beautifully as wall decoration that add colour, visual warmth and interesting texture to a space. Their practicality for decorating a large wall has experienced renewed appreciation by interior designers in recent years.

C18th Chintz Palampore Tree of Life cloth, made for the Sri Lankan market, from the Coromandel Coast, India (similar with Owen Parry or Katharine Pole); Murano glass sculpture, 1970s and 1940s/50s ceramic vase, German (Schmid McDonagh); C18th Welsh settle made in mixed fruit woods, pine and oak (Sam Kohn Fine Living); antique block-printed French cottons & quilts (Katharine Pole)

The Winter Fair houses the annual London Antique Rug & Textile Art Fair (LARTA) up on the Mezzanine, so between the carpet dealers in the main hall and the 15 or so upstairs, homes needing some decoration for the floor enjoy a spectacularly wide choice.

There’s always room for a little more art – on the walls, or displayed in tablescapes. At the Fair are dealers offerings oil paintings and prints from lesser known Old Masters to big name ModBrits and contemporary works, plus drawings, sculpture, ceramic art and even photography. Every form of media is here, with prices at every level.

John Dowell (b. 1959), Minus Abstract I, 2026, pair of relief pictures in wood & paint (Quindry); Claudia Rankin (b. 1964), Large Caddy with Jade Tiger & Parrot, 2026, hand built earthenware (WSJ Gallery); Arthur Gadd, Woodland Path, oil on board (Kiszeley Fine Art); Circle of Hogarth, Maidstone Town Centre, c1780, oil on canvas (David Brooker Fine Art)

The Fair’s jewellery dealers are always busy at the Winter event with visitors treating themselves to new acquisitions at this time of year – there’s plenty to choose from: antique, art nouveau, deco and fine 20th century jewels, classic watches, vintage couture by Chanel, YSL, Dior, Lacroix plus handbags and scarves as well as couture house jewellery designs. Find wearable everyday pieces and special occasion extravagances, engagement rings and cocktail rings by well-known names including Georg Jensen, Bulgari, Cartier, Tiffany, Hermes, Kutchinsky, etc.

1960s Van Cleef & Arpels ‘hedgehog’ ring (Anthea AG Antiques); art nouveau enamelled pendant (Thomas Glover); vintage fashion from Chelsea Vintage Couture; Georg Jensen silver & enamel bangle (Sandy Stanley)

The return of the dedicated dining area or room in current interiors will be welcomed in the Fair’s foyer display. Not grand, but very definitely a grown-up space where convivial meals will be savoured, not hurried; drinks will be enjoyed; a favourite china service can be displayed, and the lighting provides a relaxed yet luxurious setting. A mix of antique and 20th century pieces will be displayed, for sale, all drawn from exhibitors at the Fair.

Come for the day and enjoy refreshments at the on-site café or cocktail bar. A courtesy shuttle service runs from Cliveden Place off Sloane Square. On-site packing and shipping is available.

A wide variety of contemporary, modern and ancient art is available at the Fair (Elliot Davies); this rare Fornasetti ‘Credenza’ pattern textile design, mounted & framed, sold at the recent Autumn Fair (Rkade Studio Antiques); William & Mary period, cushion framed walnut mirror, late C17th (S&S Timms); Felletin Verdure Tapestry, c1700 (Justin Evershed-Martin)

Huguenot™ No.49 cabinetry

Huguenot™ No.49 cabinetry Mylands, House of Colour, announces its Colour of the Year for 2027: Huguenot™ No.49, a sumptuous crimson red drawn from the Mylands archives and named after the rich silk weavings of the Huguenots. Rich, distinctive and deeply saturated, Huguenot™No.49 brings a sense of depth and character to interiors.Its crimson tones create a bold yet considered backdrop, offering an impactful way to introduce colour across both traditional and contemporary spaces. As a colour with strong visual presence, it can be used to highlight architectural details, enrich furniture and cabinetry, or create an instantly memorable room. Mylands has seen an increase in demand for Huguenot™ No.49, as customers look for a fresh alternative to classic blues and greens, and move away from cooler tones to warm, heritage-inspired shades.

From left to right: Huguenot™ No.49 Table and wall

How to use Huguenot™ No.49 Huguenot™ No.49 can be used in a variety of ways, from smaller details to more prominent applications.

• Front doors: Use Huguenot™ No.49 to create a striking first impression, giving the front door a rich hit of crimson colour.
• Kitchens: The shade creates a prominent impact when used on kitchen cabinetry, offering a richer alternative to more classic dark green or blue shades.
• Furniture: Paint furniture in Huguenot™ No.49 to introduce a concentrated dose of colour and give individual pieces greater visual presence. Most rooms can benefit from a touch of red, it brings character, depth and a sense of joy.
• Woodwork and architectural features: Use the shade to highlight woodwork or architectural features, drawing attention to the details and structure of a room.
• Walls: Envelop a room in Huguenot™ No.49 for a sumptuous space that is full of atmosphere. For entertaining spaces such as dining rooms, try a high gloss finish and enjoy the way the light enhances the rich pigments.

A Sustainable and Luxurious Finish Huguenot™ No.49 is available across all Mylands finishes, including its signature Marble Matt Emulsion, Plant-Based Multi-Surface paints and Olive Stone Emulsion, allowing the colour to be used across a variety of surfaces and applications. The colour is part of Mylands’ wider dedication to sustainability. All Mylands paints are made at its London factory with natural earth pigments, are low-VOC, highly durable and equally luxurious, making both style and sustainability synonymous with every brush stroke. Dominic Myland, Mylands CEO, says,“We have seen a growing interest in Huguenot™ No.49, reflecting are newed appetite for richer, more expressive colour in interiors. Its versatility allows it to work as both a defining shade and a considered accent bringing both warmth and depth to a space. I am a firm believer that even a small touch of red can elevate most rooms.”

Huguenot™ No.49 Brushstroke

Ends –

Mylands Showroom 26 Rothschild Street London SE27 0HQ

For press enquiries please contact:
The Design Collective
Susanna Joicey-Cecil | susanna@thedesigncollective.co.uk | Tel: +44 7919 221124
Effie Tzouramani | effie@thedesigncollective.co.uk | Tel: +44 7470 141725
Mischa Balaratnam | mischa@thedesigncollective.co.uk | Tel: +44 7592 655262

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About Mylands

Established in 1884, Mylands is Britain’s oldest family-owned and operated manufacturer of paints and polishes. For over 140 years and across five generations, Mylands has been perfecting the art of fine paints and wood finishes from its factory in the heart of London–expertise that was recognised with a Royal Warrant in 1985.

Today, Mylands remains the trusted choice for private homes as well as leading trade professionals across film, television, and cultural institutions. Its paints have been used to create the iconic worlds of Harry Potter, Bridgerton, James Bond and Star Wars, with its specialist finishes bringing unparalleled depth and character to the screen. Prestigious palaces and museums, including the Dulwich Picture Gallery and the National Portrait Gallery, also rely on Mylands’ rich, durable finishes to enhance historic interiors.

An industry pioneer in environmental responsibility, Mylands is one of the last remaining manufacturers to still use natural earth pigments, producing paints renowned for their exceptional colour, quality, and environmental integrity. Committed to minimising its impact on the planet, Mylands achieved Planet Mark Business Certification in 2025, reinforcing its dedication to environmental stewardship.

Mylands continues to honour its rich heritage while innovating for a vibrant, responsible future.

Attributed to Gerrit Adriaensz Berckheyde (1638-1698) , Courtyard scene with elegant ladies and horsemen gathered beside a large fountain, oil on panel, 17 3/8 x 23 5/8 in (44 x 60 cm). Courtesy The Parker Gallery

The lifespan of architect and dramatist John Vanbrugh (1664-1726) represents a broad sweep of English history. This year marks the tercentenary of his death and the foyer of the 2026 Autumn Fair will display an eclectic cross-section of pieces hailing from this period. Chronologically, this takes in the reigns of Charles II, James II, William III and Mary II, Anne and George I. England – which merged with Scotland, with the passing of the Act of Union in 1707, becoming the Kingdom of Great Britain – was exposed to overseas influences that enriched the country’s repertoire of decorative arts.

Italian wall-hanging comprising silk embroidery on silk ground with a Classical hunting scene at its centre, circa 1720. Courtesy Owen Parry

Within this timespan, three standout styles of furniture and decorative arts are named after a monarch – proof of their prominence: William and Mary (from 1689 to 1702); Queen Anne (1702 to 1714) and early Georgian (spanning 1714 to 1727).

Vanbrugh was hugely influential – a polymath who found success as a playwright during the Restoration period of 1660 to 1710 that followed the repeal of the Puritans’ 18-year ban on public stage performances. Vanbrugh’s plays, such as The Relapse of 1696, were controversial and modern for engaging with contemporary issues, such as defending women’s rights within marriage.

A colourful, ambitious personality, Vanbrugh rose to challenges others with less self-belief may have quailed from. An untrained architect, he nevertheless became a leading exponent of English Baroque architecture. Thanks to his chutzpah and connections to Britain’s elite, he secured the most prestigious country-house commissions of the day.

The flamboyant Charles II inspired a hunger for opulence, which hugely resonated with the end of Puritan rule, says exhibitor Giles Hutchinson Smith of Chalet White. “Charles II was exiled in a royal court in France and brought a love of French culture back to England, following the 1660 Restoration of the monarchy. And rich and poor alike appreciated the elaborate sets of the newly reopened theatres.” Vanbrugh favoured these himself – a link to his architecture (often described as theatrical). He frequently talked of the importance of “effect”, meaning architecture’s visual, theatrical impact.

Early 18th century Dutch chair. Courtesy Galerie Arabesque

Parallelling the popularity of English Baroque architecture was a burgeoning taste for exoticism, with imported Asian goods entering Europe via the East India Company and Dutch East India Company, both founded in the early 17th century. Queen Mary was a tastemaker, decking out Kensington Palace and Hampton Court with Dutch Delftware and Far Eastern porcelain. Exhibitor Arabesque will show 17th-century Delft tiles and an 18th-century embroidered screen with a gilt frame.

Collection of delftware vases courtesy Galerie Arabesque.

A George 1st walnut veneered bureau, circa 1720 with great colour (about as good as it gets !) and original throughout. It measures 36” wide, 40” high and 21” deep. Courtesy William Cook Antiques

Textiles were widely coveted. Kensington Palace was also adorned with sumptuous tapestries “in the Indian manner” – picturing scenes of Indian nobility – supplied by John Vanderbank, an English painter of Dutch extraction.

Rare Aubusson ‘Exotic’ Tapestry, dating from the early 18th century. Courtesy Joshua Lumley

Yet the period also encompasses the relatively restrained Queen Anne style. Typical pieces from this period include small tables, often boasting gently S-shaped cabriole legs, china and china display cabinets, all catering to the new tea-drinking custom.

A George I period walnut veneered lowboy, circa 1720. Courtesy William Cook Antiques

Vanbrugh, the son of a wealthy merchant of Flemish descent, was a Whig and anti-Catholic. He supported the deposition of James II by the Protestant William of Orange. While visiting Calais, Vanbrugh was imprisoned for suspected espionage for four years, then released on parole. “Vanbrugh was at liberty for fourth months to observe French architecture and interior decoration,” says Charles Saumarez Smith, author of John Vanbrugh: The Drama of Architecture and co-curator, with architect Roz Barr, of the recent, eponymous exhibition at Sir John Soane’s Museum. Vanbrugh was dazzled by Louis XIV’s Palace of Versailles, then under construction.’

Vanbrugh’s admiration for Louis XIV’s pet project isn’t as contradictory as it might seem in light of his anti-Catholic stance. “Vanbrugh and his contemporaries showed it was possible to hold two apparently contradictory thoughts simultaneously,” says Anya Lucas, Director of The Georgian Group, which initiated Vanbrugh300, a year-long festival celebrating the tercentenary. “They loathed France’s absolutist monarchy and Roman Catholicism but were nevertheless inspired by the architecture of Paris and Rome.” This is evident at Blenheim Palace, designed for the Duke of Marlborough as a reward for defeating Louis XIV’s army at the Battle of Blenheim. “At Blenheim, Vanbrugh appropriated architectural forms preferred by the Duke’s enemies. Vanbrugh sling-shots the architecture of Louis XIV back across the Channel, even placing a stolen marble bust of the king on a principal elevation.”

Blenheim Palace by Gareth James

In Vanbrugh’s day, walnut furniture was popular. Exhibitor Wakelin & Linfield will display an early 18th-century walnut chest of drawers and William Cook Antiques a George I walnut-veneered lowboy, made circa 1720.

Early C18th walnut chest of drawers with geometric inlay, c1705. Courtesy Wakelin & Linfield

Giltwood items, lacquer and japanning (a European technique of coating wood, metal or leather with a glossy varnish imitating traditional East Asian lacquerware) were also coveted. Similarly appealing was Chinoiserie – a European mimicking of Chinese goods with roots in a Dutch fascination with the Far East. Chinoiserie wallpapers and porcelain featured such motifs as pagodas, phoenixes and dragons.

Chalet White’s stand at the Spring Decorative Fair featured a group of four chinoiserie wallpaper panels, mounted and framed for display as a work of art.

“It was more prestigious to have wallpapers made in China, a sign of the owner’s wealth,” says Hutchinson Smith. “A great example of Chinoiserie is a four-poster bed in Calke Abbey, Derbyshire, dating from 1715. It has blue silk curtains embroidered with butterflies, birds and trees that are lined with cream-coloured silk.”

There was also a huge demand for chintz, derived from the Hindi word “chint”, meaning spotted or variegated. “The East India Company helped popularise chintz in England,” says Avalon Fotheringham, lead curator of an exhibition called Chintz, which opens at the Victoria & Albert Museum in autumn, 2027. “Those who could afford it furnished whole rooms in Indian chintz. People were drawn to it for many reasons – its beauty, vibrancy, the fastness of its colours, texture of its cotton, the novelty of its designs and a fascination with its Indian origins.”

A European-made antique chintz with a chinoiserie pattern – stylized designs influenced by European ideas of the ‘orient’. Courtesy Su Mason

“Early chintzes exported to England were used as wall-hangings, bed-hangings, quilts and to some extent carpets,” she adds. “English crewelwork, European tapestries, Genoese velvets and Turkish and Persian carpets featured in aristocratic English interior design from 1660 to 1730. Luxury textiles were always about conspicuous consumption – material demonstrations of wealth and power.”

A crewel work panel, first half of the 18th century, with colours preserved almost as original. This pattern influenced by imported chintzes from India. Courtesy Gilbert Bannerman

By contrast, crewelwork was more accessible, says exhibitor Owen Parry, who specialises in rugs and textiles. “Crewelwork from the 17th century, made of coarsely spun wool, was within many people’s reach. Wool was a big part of Britain’s economy and crewelwork was made in local workshops or in homes. It essentially has floral patterns and motifs like birds and monkeys…” Parry will be showing an Italian, silk wall-hanging picturing a Classical hunting scene, created circa 1720.

Two panels of late 17th century baroque crewel work, from Leeds Castle, Kent (from which two companion side hangings are now at a foundation in New York) were sold by Chalet White at a past Decorative Fair. Note the preservation of many colours still evident.

An early, mid-1600s section of crewelwork sold by Owen Parry at a past Fair. Here you can see how some of the original colours have faded over time leaving primarily blues and dusky greens.

Early Georgian design rejected late Restoration and Baroque ornamentation, embracing a comparatively pared-back style epitomised by wood-panelled walls or ceilings and walls decorated with plaster mouldings featuring Classical motifs.

Women artisans and entrepreneurs increasingly made their mark in 18th century Britain, coincidentally mirroring the progressive values expressed in Vanbrugh’s plays. Vanbrugh furnished his home – the immodestly named Vanbrugh Castle near Greenwich Park – with mirrors supplied by London cabinet-maker Elizabeth Gumley’s workshop, which also stocked fashionable gilt gesso tables with cabriole legs and japanned cabinets.

John Vanbrugh houses open to the public:

Blenheim Castle, opening times for the palace state rooms and gardens and parkland vary. For more information, visit blenheimpalace.com

Castle Howard, open from March 20 to October 31; castlehoward.co.uk

Seaton Delaval, open all year apart from Christmas Eve, Christmas Day and Boxing Day. Open from March to October, Wednesday to Sunday, 10am to 5pm. Open: November to February, Wednesday to Sunday 10am till 4pm; https://www.nationaltrust.org.uk/visit/north-east/seaton-delaval-hall

For details of Vanbrugh300 events, visit:

https://www.vanbrugh300.co.uk/

 

Article written for The Decorative Fair by Dominic Lutyens, freelance journalist on art, architecture, design and fashion, and author of several books on design, and another on fashion designer Celia Birtwell.

A 17th century English tapestry, Spring, c1680. Woven in London, possibly by Thomas Poyntz at Hatton Garden. Courtesy Textile Antiques.

Friends of the Decorative Fair, The House Directory caught up with Markies Antiques, long-term exhibitors at our Fair.

They specialise in Art Deco, which is now a century old, but Markies Antiques is a family business, started by Trudie Markies in 1981, and is now run by her son Jeroen Markies, and his son Jacob Markies.

Trudie’s shop sold a wide range of items, from christening and wedding gifts to jewellery, porcelain, tableware and furniture. The tables would be filled with photo frames, candlesticks, French paperweights and linen.

At the Decorative Fair

By 2000 Jeroen noticed that traditional antiques were giving way to a growing interest in 20th century design, including Arts & Crafts, Art, and particularly Art Deco.  The appeal of Art Deco had always been its clean lines and comparatively modern look, an aesthetic that would become an important part of their business.  Normally, the quality pieces will have a show wood veneer such as burr walnut, bird’s eye maple or satinwood, veneered onto a high-quality hardwood such as mahogany.  Particularly with English Art Deco, the lines and designs are softer than their continental counterparts. For this reason, you now see these pieces used in a variety of interior styles, from antique interiors to modern interiors and so on.

Jacob joined the business in 2018 and says “I’ve always loved Mid Century Scandinavian and Italian design, but I must be honest and say that my dad and I agree on most things. Quality furniture and sculpture from any period is more important to both of us than a specific style.  I have been a big fan of Betty Joel since I first saw a chest of drawers designed by her earlier in my career. For a woman in the 1920s and 30s to make her mark as a furniture designer, but also to produce, in my opinion, superb quality and unique pieces is truly impressive.”

Read the whole illustrated article @thehousedirectory.com

Visitors at The Decorative Fair

Stand shot from the Decorative Fair

Vernacular furniture, as it’s known in the antiques trade, was first widely coveted well over a half century ago. This sub-genre of furniture and other household items is associated with overlooked regional, rural pieces. The term, vernacular, is derived from the Latin word vernaculus, meaning domestic, native and indigenous. It entered the English language in the 1600s, initially referring to native language, then to the everyday speech or dialect of a locality or group.

Vernacular furniture overlaps with folk art – both were often made by people who weren’t cabinetmakers but worked in other professions, such as blacksmiths or wheelwrights. Vernacular furniture was created anonymously, unselfconsciously. Predating mass-production, vernacular flourished from the 17^th to the 19^th centuries. Its provenance can be hard to trace since it’s often unnamed. The furniture, often made of country woods such as ash, elm, yew, sycamore and fruitwood, was originally bought by people of slender means. It was inexpensive to make and buy and met practical needs. A classic example is the high-backed settle, designed to keep out draughts. Exhibitor Wakelin & Linfield, which specialises in vernacular, is selling a handsome 18^th-century oak settle, with a panelled back at the fair.

A late 18th century primitive oak settle, with framed panelled back, the paddle shaped arms on turned supports. Good colour and patination. England. C.1790 W134cm x D61cm x H128cm. Wakelin & Linfield

Salvaged timber provided some of its raw materials, says exhibitor William Carr of William Carr Antiques: “Vernacular furniture was often made of discarded timber found in derelict buildings, such as ecclesiastical buildings, notably after Henry VIII’s dissolution of the monasteries.”

Vernacular can include ceramics and kitchenalia. William Carr sells tin-glazed earthenware and patterned spongeware, which was sometimes cheaply decorated using potatoes. Candlesticks, once useful for fireside reading, are now prized for their sculptural qualities, not just their functionality. A good example is rushlight holders – rushlights are a type of candle made of rush soaked in tallow – which were often made of wrought iron and decoratively curvilinear.

An oversized C19th spongeware ale jug offered by Garden Artefacts at a past Fair.

Today vernacular is valued both for its honesty of materials and tactility. Take the humble butcher’s block, once used to chop meat on and now often repurposed as a pleasingly tactile table, valued for its rugged, rough-hewn texture.

Vernacular’s popularity received a boost in the 1980s and 1990s. The Regional Furniture Society, founded in 1986, held exhibitions of vernacular at Temple Newsom House, Leeds. And Christopher Gilbert expounded authoritatively on it in his 1991 book, English Vernacular Furniture, 1750-1900. Vernacular continues to appeal thanks to the unique character and patina of every piece. It was never made to be fashionable and so is timeless.

19th Century preparation table with three drawers and lots of character.  The top is comprised of sycamore with the base made in pine. Circa 1850. Rogers-Forghani

Early country furniture 

This strand of vernacular pertains to purely furniture found in cottages and farmhouses. It was documented in landscape gardener John Claudius Loudon’s Encyclopedia of Cottage, Farm and Villa Architecture and Furniture of 1833. He pointed out that village joiners’ skills at making “carpentry work connected with the farm” – including wheelwrighting, making field gates, carts and ladders – merged with furniture-making.

A beautifully preserved C19th English lambing chair in excellent condition. It has a rich, well-developed patina and  all the hallmark features of the form: a high back and extended sides designed to shield the sitter from drafts. Circa 1860. Rogers-Forghani

Traditional English farmhouses had a front kitchen or living room with a smaller kitchen. Country joiners supplied these with a profusion of household furniture and utensils – butter scales, corn chests, kitchen tables, tripod tables for serving tea, clock cases, rocking chairs, oak dressers and wall-hung corner cupboards. Exhibitor 1923 Antiques has an 18^th-century Welsh wall unit with two open shelves, while exhibitor Rogers-Forghani is selling a tilt table with a circular top and baluster stem with tripod supports. Another staple of country furniture is the high-backed oak or pine lambing chair. Typically positioned by the hearth, this incorporated a drawer that could be used to keep new-born lambs warm.

Welsh wall shelves constructed in 18th century timber. Two open shelves with beautiful hand worked joinery all over. 53 cm high x 39 cm wide x 15 cm deep. 1923 Antiques

Tilt table with wonderful undulating circular top with a strong sculptural presence, raised on a finely turned baluster stem with tapering, spider-like tripod supports. Circa 1840. Rogers-Forghani

Exhibitor Extraordinary Objects sells hedge chairs made by hedge carpenters (woodworkers who crafted furniture using locally sourced raw materials, such as shapely wood found in hedgerows). “Hedge chairs are utilitarian but also happen to be very beautiful,” says Michael Snelle of Extraordinary Objects. “These were often repaired and seeing this kind of human imprint on a chair makes people feel connected to it.”

A mid-18th century comb back Windsor chair in ash and elm, the shaped top rail above pierced vase splat, the single piece bow with outswept arms on turned arm supports, the shaped seat raised on four turned legs. England. C.1760. W74cm x D50cm x H105cm. Wakelin & Linfield

Regional variations 

The Windsor chair is a key example of a vernacular design that varied depending on where in Britain it was made. A type of turned, stickback chair, this originated in the 18^th century, and was often made by wheelwrights. “It’s possible to pinpoint where Windsor chairs were made,” says Rupert McBain of exhibitor McBain & Byrne. There are identifiable differences between stickback chairs made in Cumbria, Wales, Durham.” Another typical vernacular chair is the ladderback, featuring horizontal slats between two vertical posts.

An example of a Carmarthenshire stick back chair. Welsh circa 1800.

Sussex-style chair by Heal’s, circa 1910-1915, courtesy 1923 Antiques

In the mid-18^th and early 19^th centuries, there was a crossover between chairs made unselfconsciously following regional traditions and the tastes of sophisticates. Landscape architects and arbiters of taste Capability Brown and William Kent cultivated a more naturalistic approach in parks and gardens – the picturesque tradition – in reaction to formal, geometric French garden design, and Windsor chairs perfectly chimed with this sensibility.

Industrial and functional

Vernacular extends to robust, exceptionally practical furniture suited to public and institutional places. A good example is the alehouse, which evolved from kitchens in farm dwellings whose owners brewed beer and charged customers to have a drink there. Their furniture was generally restricted to round drinking tables and bar stools. Between the 1570s  and 1630s, the number of alehouses in England doubled from around 24,000 to around 50,000, according to Mark Hailwood, writing in the journal, Brewery History. Also popular in alehouses and taverns were cricket tables (which have no connection to cricket). The sturdy, three-legged table was suitably stable for uneven floors in taverns. McBain & Byrne is selling an early 19^th-century example with a steamed bentwood border.

An exceptional ash cricket table of rare form with the original steamed bent wood border. English Circa 1800.

Ht 72cm / 28.5 inches, Width 71cm / 28 inches. McBain & Byrne

Functionality and patina converge in another example of vernacular – 19^th-century school desks, whose surfaces are often carved with the markings of schoolchildren. Furniture from hospitals, offices and factories is also often classified as vernacular.

Elevated vernacular

In 19^th century Britain, the increasingly affluent bought more finely crafted, expensive furniture. Reflecting social aspirations, vernacular designs were sometimes embellished or modelled in ways that elevated them. Elaborate Windsor chairs fall into this category. McBain & Byrne is selling four Georgian comb-back Windsor chairs attributed to the Thames Valley region, dating from circa 1760/ 1770. These have a shaped crest rail, turned legs and a walnut vase-shaped splat (the splat is the decorative central element of a backrest) atop an elm seat.

A set of four Georgian comb-back Windsor chairs attributed to the Thames Valley region. Shaped crest rail, turned legs and walnut vase-shaped splat above an elm seat. English, Circa 1760/70. These are country chairs of sophisticated form, with exceptional colour and patination. McBain & Byrne

Similarly, in the 19^th century inexpensive pine was frequently painted to elevate it. Plain wooden furniture was often painted with a faux-woodgrain, simulating finer wood. Furniture with painted or stencilled folk motifs, imported from Europe, also appealed in Britain.

A truly unique C19th English housekeepers cupboard with original feather work scumbled paint finish replicating flame mahogany. England C.1840.  A rare folk art survivor in remarkable unrestored original condition. W132cm x D210cm x H59cm. Wakelin & Linfield

The postwar revival

Production of authentic vernacular dwindled at the beginning of the 20^th century. Garden designer Gertrude Jekyll lamented in 1904: “Now alas, this fine old furniture is rare in these country dwellings. It has been replaced by wretched stuff… It is even more noticeable in farmhouses where even if a good piece… remains, it is swamped by… things that are flimsy and meretricious.” But vernacular in Britain was rediscovered in the economically straitened postwar years by a young generation seeking to furnish their homes with affordable items. A backlash against futurism and modernism in the 1970s ushered in a renewed appreciation of hand-crafted, historical design, eclecticism and natural materials and the vernacular revival dovetailed with this. Vernacular’s unfussy yet sculptural forms came back into vogue as hierarchical values were rejected and more informal lifestyles adopted.

At the 2026 Winter Fair, our foyer display – a room set circa 1920 – spotlights avant-garde design from the fin-de-siècle Vienna Secession mingled with international, early modernist and Art Deco pieces. They stand out for their streamlined forms and high quality craftsmanship influenced by Britain’s Arts and Crafts movement, with its roots in the philosophy of John Ruskin and spearheaded by William Morris from the 1850s. Encompassing furniture, lighting, glass and art, the pieces displayed are lent by exhibitors who have a passion for some or all of these periods, such as Two Poems, Justin Evershed-Martin, 1923 Antiques and Morgan Strickland.

The Fair’s Foyer Display setting emulates a European sitting room circa 1920, where the fin-de-siècle Arts and Crafts and Art Nouveau periods move into modernism and early Art Deco. Here showing a 1911 painting by Belgian artist Bernard de Maere (1887-1954) lent by Kiszeley Fine Art, an early 1920s bronze mirror and daybed in the style of Jean Royère (both from Justin Evershed-Martin), a Vienna Secessionist suite, and a rare Art Nouveau design Qum carpet, Persia c.1930  (from Gallery Yacou).

The Vienna Secession is less on people’s radar than the British Arts and Crafts movement, which heavily influenced it. Yet design produced by the Secession and its offshoot, the Wiener Werkstätte, is proving covetable today, and inspiring young interior designers. The Vienna Secession was co-founded in 1897 by a coterie of like-minded Austrian artists, architects and graphic artists, whose ringleader was painter Gustav Klimt. KIimt then was an established artist and, along with architects Otto Wagner, architect and designer Josef Hoffmann and artist Koloman Moser, was a member of the conservative Vienna Künstlerhaus (Vienna House of Artists). But they had all grown frustrated by its adherence to stale academicism, historicism and Classical ideals.

The movement’s name was derived from the verb to secede, meaning to break away. It fostered creative freedom in art, architecture and the applied arts. Its artists dug beneath the purely representational to plumb psychological depths. This occurred in the context of Sigmund Freud’s exploration of the subconscious and Arnold Schoenberg’s radical reinvention of Classical music. The Secession had a magazine called Ver Sacrum, meaning Sacred Spring, which itself suggested renewal.

Part of a rare Secessionist suite by Hans Günther Reinstein (1880-1938) consisting of two chairs, a bench and table, with Two Poems

“The Vienna Secession aimed to unify fine art with the applied arts –architecture, design, craft – into a holistic movement,” says Ed Morris of 1923 Antiques. In 1903, Hoffmann and Moser established an offshoot of the Secession – the Wiener Werkstätte (Vienna Workshop), which produced furniture, ceramics, silver, furniture, graphic arts and fashion.

Vienna’s location at the crossroads of Austria and Hungary gave further impetus to the Secession: in the city’s many coffee houses, its multicultural, migrant community freely exchanged ideas. Vienna had art schools that encouraged innovation, such as the Academy of Fine Arts Vienna and the Vienna School of Applied Arts. The latter was more progressive for admitting women, many of whom went on to design for the Wiener Werkstätte.

Secessionist silver basket on ball feet by Koloman Moser for the Wiener Werkstätte. Courtesy Morgan Strickland Decorative Arts

In 1907, Hoffmann also co-founded the influential Deutscher Werkbund (German Association of Craftsmen), based in several German-speaking cities, which similarly advanced modernism.

The Vienna Secession was international in character. One of its main goals was to exhibit work by modern and international artists. To that end, architect Joseph Maria Olbrich designed an exhibition hall where work by Auguste Rodin, Edvard Munch, Claude Monet and designer, architect and exponent of the Glasgow School (a Scottish strand of Arts and Crafts) Charles Rennie Mackintosh, was shown. “The Vienna Secession was similar to the Glasgow School,” says Morris. “Hoffmann and Mackintosh were great friends,” says Toby Ziff of Two Poems.

The Secessionists had a motto – “To every age its art, to every art its freedom”, a clarion call to art as contemporary, an expression of its time. This potentially opened the way for all forms of expression and styles yet the applied arts of the Secession and Wiener Werkstätte had a recognisable aesthetic that crossed over with that of the Glasgow School – relatively austere and pared-back, often crisply rectilinear, with a predilection for squares (a hallmark of Hoffmann’s) and grids and tonal contrasts in wood, creating clean, graphic geometric patterns.

Early 1920s Daum Frères crystal drop chandelier, with Justin Evershed-Martin

“This was a reaction against heavy, ornate Victorian maximalism,” says Ziff. It was also a backlash against the extravagantly sinuous lines of Art Nouveau. “The period from 1890 to the 1940s was a sweet spot. It was sought-after in the 1980s and 1990s and Vienna Secession pieces are popular again but they’ve become rare. They’re easy to understand and enjoy because of its clarity. I’ve got a beautiful, two-tone Secessionist mirror in ebonised and cerused oak [treated with lime].”

“My personal preference is for early 20th century Continental makers,” says Justin Evershed-Martin. “I particularly like Vienna Secession design which was more ground-breaking than the architecture it was intended to complement. The Dodecahedron lantern by Adolf Loos, of around 1905, is a perfect example of a balance of simplicity and richness, and feels timelessly modern: it could hang in an any interior today, whether richly ‘period’ or minimally spartan. I also stock French and Belgian pieces that tread the line aesthetically between simplicity and the boldly sculptural I like so much in Viennese design.”

Day bed attributed to Jean Royère (1902-1981), one of the leading figures of French 20th-century decorative arts. Courtesy Justin Evershed-Martin

“I have a rare set of Thonet horseshoe armchairs – so-called because of their curved, continuous backrest and armrest – that bridge the gap between the Vienna Secession, with its love of elegantly thin lines and wood, and Bauhaus modernism that translated that simplicity of form into near-abstraction in tubular metal,” says Evershed-Martin.

Polished chrome modernist hall stand, with Bauhaus inspiration, from the early Art Deco period. Courtesy Markies Antiques

English Arts and Crafts design appeals greatly today, concur Morris and Evershed-Martin. “The Arts and Crafts movement began as a reaction against poor quality, soullessness and inhumane working conditions brought on by the Industrial Revolution,” says Morris.

Sussex-style chair by Heal’s, circa 1910-1915, courtesy 1923 Antiques

“The relevance of British Arts and Crafts pieces with their roots in a rejection of mass-production is easily translated to today’s buyers, given their immediate authenticity,” he continues. “Their organic aspect – their respect for materials linked to nature – appeals today in the same way it did to many a century or more ago. Arguably their appeal is offered anew with each generation in slightly different guises. It’s an unbroken line in the UK from Morris to Edward Barnsley and Ernest Gimson, advocates of the Cotswold School of Arts and Crafts, and the continuing success of the Barnsley Workshop and, contemporaneously, Robert ‘Mousesman’ Thompson and his followers in Yorkshire, right up to Terence Conran and Sean Sutcliffe’s project Benchmark Furniture, founded in 1984. Arguably all would acknowledge the influence of European designers. Gimson and Barnsley’s Dutch collaborator, Peter Waals, brought with him the aesthetics of the Amsterdam School and Viennese and Belgian design to deepest Gloucestershire.”

According to Morris, “The Arts and Crafts movement appeals in our world of fast-growing technology, high stimulation short-form content like social media and decades of mass-produced tat in which people are striving for a sense of the past, slower times and simple, well-made, functioning, beautiful objects – rather like record shops and bookshops have enjoyed a resurgence since music and reading went online. Antiques of this period, which championed traditional craftmanship, from the Cotswold School to London retailers Liberty and Heal’s, are made of beech, ash, elm and oak that have lasted 100 years and more, and rush that has stood the test of time. Our clients, be they private ones or interior designers, love items with patina, stories and meaning to them.”

A Cotswold School-style sideboard in mixed timbers with laburnum drawer pulls, inspired by Edward Barnsley. Courtesy 1923 Antiques

For such clients and fans of the Arts and Crafts movement (and its many offshoots), the appeal of its furniture’s tactile qualities and warm patina can’t be underestimated, concludes Morris: “What can be better than sitting in an Arts and Crafts chair, candle on, reading a favourite book?”

Article by Dominic Lutyens for The Decorative Fair. Dominic Lutyens/The Decorative Fair. Dominic is a London-based writer and journalist, author of Perriand, a monograph of Charlotte Perriand (Welbeck Publishing/Headline). Follow him @dominiclutyens and @70sstyleanddesign

The Winter 2026 Fair Foyer Display showing an early Art Deco period sideboard or console in parchment and shagreen, lent by Two Poems, above which hangs a Post-Impressionist work by Robert Deborne (1870-1944) from Darnley Fine Art.

For 10 years Mylands has been a Partner to The Decorative Fair, supplying paints to our exhibitors and featuring in many of our Foyer displays. The brand’s Dulwich Red, created especially for Dulwich Picture Gallery, can be seen in our Winter Fair marketing imagery.

Mylands has revealed their Colour of the Year for 2026. Burlington Arcade™ No. 216 is a richly nuanced hue that captures the spirit of timeless elegance and modern living. As many of us crave comfort in an increasingly uncertain and fast-paced world, Burlington Arcade™ No. 216 has been chosen for its cocooning nature and sense of balance, inviting us to slow down and feel calm at home.

Mylands Burlington Arcade™ No.216

Courtesy @thecountryhousediaries

A robust shade originally influenced by the historic shopping arcade in Central London, it sits somewhere between green and blue, with an instantly fresh appearance. It can be a bold, bright choice for any modern home, or paired with dark shades to create depth and intimacy.

Although Burlington Arcade™ No. 216 sits in the blue-green spectrum, its complexity ensures a warm and inviting effect. Rather than cooling a space, it brings an enveloping richness. It is particularly effective in living rooms, studies, or bedrooms where a sense of comfort is key. Its nuanced subtlety of tone also means it is versatile and easy to decorate with, working equally well with deep and moody tones as light, airy hues.

Mylands Burlington Arcade™ No.216

Courtesy @thecountryhousediaries

HOW TO USE BURLINGTON ARCADE™ No. 216

For a bold and contemporary approach, colour drenching – painting walls, woodwork, and ceilings in the same tone – with this rich teal creates an immersive environment which is particularly effective in dining rooms, snug living spaces, or hallways where a sense of drama will leave a lasting impression.

It also creates a striking but refined effect when used in kitchens, especially on cabinetry, offering a contemporary twist on the more classic dark blue or green shades.

As a front door colour, it strikes a perfect balance between character and refinement, welcoming guests with warmth whilst also being a shade that will stand the test of time.

Its subtle interplay of blue and green offers a soothing ambience, ideal for serene spaces designed for rest or reflection, such as bedrooms and studies.

For a striking contrast, pair with crisp neutrals such as soft greys or off-whites to let the depth of the shade truly shine – a great way to highlight woodwork or architectural features.

It is an ideal choice for rooms with low natural light, as it is enveloping and dramatic. Enhance this effect by using a gloss finish that will reflect candlelight for a magical atmosphere.

A SUSTAINABLE AND LUXURIOUS FINISH

Burlington Arcade™ No. 216 is available in all Mylands’ finishes including its signature Marble Matt

Emulsion, Plant-Based Multi-Surface paints, and Olive Stone Emulsion, underscoring Mylands’ dedication to environmental stewardship. All Mylands paints are made at its London factory with natural earth pigments, are low-VOC, highly durable and equally luxurious, making both style and sustainability synonymous with every brushstroke.

Dominic Myland, Mylands CEO, says, “Burlington Arcade™ No. 216 marries the unique heritage of its namesake with a fresh presence in the home. It’s a colour that feels both reassuringly historic and modern. It embodies Mylands’ vision to bring rich, enduring tones into everyday spaces and offers a sense of comfort and escapism that is appealing in today’s word. Whether introduced in a small area or used for a whole room, it has a transformative effect.”

You can see Mylands Colour of the Year in use in our ground floor café at the back of the Fair, where it has been paired with an extraordinary tile mural by exhibitor Tom Rooth, of a life-sized shark.

Mylands Bloomsbury No. 267 on Katharine Pole’s stand at the Autumn Decorative Fair

Follow Mylands @mylands_London for lots of colour inspiration.

ABOUT MYLANDS: CRAFTING COLOUR AND LEGACY SINCE 1884

Established in 1884, Mylands is Britain’s oldest family-owned and operated manufacturer of paints and polishes. For over 140 years and across five generations, Mylands has been perfecting the art of fine paints and wood finishes from its factory in the heart of London – expertise that was recognised with a Royal Warrant in 1985.

Today, Mylands remains the trusted choice for private homes as well as leading trade professionals across film, television, and cultural institutions. Its paints have been used to create the iconic worlds of Harry Potter, Bridgerton, James Bond and Star Wars, with its specialist finishes bringing unparalleled depth and character to the screen. Prestigious palaces and museums, including the Dulwich Picture Gallery and the National Portrait Gallery, also rely on Mylands’ rich, durable finishes to enhance historic interiors.

An industry pioneer in environmental responsibility, Mylands is one of the last remaining manufacturers to still use natural earth pigments, producing paints renowned for their exceptional colour, quality, and environmental integrity. Committed to minimising its impact on the planet, Mylands achieved Planet Mark Business Certification in 2025, reinforcing its dedication to environmental stewardship. Mylands continues to honour its rich heritage while innovating for a vibrant, responsible future.

Mylands Upcycled Bond Street No. 219 in use by Madeinbritaly

The first Fair catalogue front was a reproduction of an antique textile

Since its inception in September 1985, The Decorative Fair has led the way in bringing together the world of interior design and antiques. In the sales booklet for the first Fair, talking about the then existing fairs scene, the Organisers stated: “to a certain extent, interior designers have been neglected. There has until now been no specialist setting in which designers can meet dealers… and where their particular needs are understood and catered to.”

Pages from the Fair’s Sales Booklet show the dateline was 1900 when for most fairs it was 1837; today the dateline is 1979. Among textile items ‘not allowed’ were white linens such as sheets and table cloths, now allowed, and very popular.“Antique furniture which has been repainted in the original manner will be allowed”– this above all was the element that distinguished the Fair from others, primarily for decorators who wanted to buy ‘The Look’ and at reasonable prices, not necessarily items in pure original condition which invariably came with high price tags, as it is so rare to find completely untouched painted furniture.

The growth in the 1980s of the interior decorating trade coincided with a trend for opulent and traditional interiors, after decades of post-war modernism. Decorators were hunting for a great variety of antiques that weren’t necessarily collectors’ items, had visual impact, and were priced at levels that worked within their budgets. Although they didn’t know it yet, but what they were hunting for became known as ‘decorative antiques’.

The stand of Patricia Harvey, founder of the Fair, at the first marquee event held at Chelsea harbour in 1991. The Fair moved from there when the Harbour site underwent further development in the mid-1990s.

The launch of ‘The Decorative Antiques & Textiles Fair’ (its original name) tapped in to that demand, and was a welcome initiative. Exhibitors were positively encouraged to be creative with their stand displays to inspire buyers; textiles were experiencing a boom in interest, with the ‘full’ country house look of swags and tails (plus ruched blinds) at the windows, chintz-covered squashy sofas loaded with cushions, and the fad for fabric-draped side tables at its apogee. Designers and decorators embraced the event, as did their clients, who came to shop in their droves.

The first Fair in Battersea Park, January 1997, was in a marquee structure close to the Peace Pagoda on the riverfront. A complimentary shuttle service has always been provided from Sloane Square to the Fair.

There had never been an antiques fair like it – and today the event continues to lead the way for the interiors trade.

After the first Fair in the autumn of 1985 and until 1990, the Fair took place twice a year in ballrooms of leading hotels in central London, including the Café Royal

How international creatives fashion highly personal interiors

2pm Wednesday 7 May – panel talk and book signing

Booking is required and is free if you already have a ticket to the Fair, otherwise £10 p/p (which also give admittance to The Decorative Fair)

Hosted by Emilio Pimentel-Reid author, award-winning interiors stylist and creative strategist.

In conversation with leading creatives featured in his latest interiors book, ‘All Things Considered’ (Quadrille, publishing April 2025):

Michal Silver, Creative Director of Christopher Farr Cloth

Natalia Miyar, architect, designer and founder of London and Miami based practice, Natalia Miyar Atelier

Holly Howe, co-creative director of Howe London, the company founded by her father, renowned antique dealer and designer Christopher Howe

This talk will discuss and illustrate ways to create highly individual interiors, using antiques and vintage pieces while placing a curated sense of personality above all else. The panellists are creatives at the top of their game, whose own homes are distinctive and uplifting, full of confidence and flair. These are all principles of The Decorative Fair, and the Organisers are delighted to be presenting this talk in conjunction with The House Directory LIVE. We anticipate a fun and engaging conversation between exceptional panellists, richly illustrated with inspiring images from Emilio’s new book.

The panel discussion is followed by a book signing by Emilio. Copies of ‘All Things Considered’ (Quadrille, £35) with photography by Edvinas Bruzas, will be on sale throughout the week from The House Directory’s stand on the Mezzanine. This inspirational book encourages you to embrace your unique interior design personality and play by your own rules.

About the panellists:

Emilio Pimentel-Reid is a UK-based author, award-winning interiors stylist and creative strategist, with over 25 years of experience collaborating with some of the world’s most recognised high-end publications, interior style brands, as well as top retailers. Offering insight on his latest book Emilio says: “I have found that often the most alluring and successful interiors are those that designers conceive for themselves. ‘All Things Considered’ is not about one point of view or look, but rather about encountering accomplished spaces built on integrity, gut feeling, deep knowledge and great personality.”

Holly Howe has spent a lifetime immersed in the world of antiques and design, growing up between restoration workshops, country house auctions, and surrounded at home by a veritable treasure trove of antique furniture and objects. Now, as Co-Creative Director of Howe London, she has spent the past decade working alongside her father, Christopher Howe –founder of the internationally renowned company–helping to shape and grow the business while developing its distinctive brand. With an instinct for pieces that bring authenticity and personality to a space, her approach is both practical and personal, championing craftsmanship, history, and the beauty of the ever-changing home.

Natalia Miyar is an architect, designer, and founder of Natalia Miyar Atelier, with locations in London and Miami. Her work—spanning residential, hospitality, and bespoke product design—is known for its spatial intelligence, crafted precision, and deeply personal sensibility.  “For me, great design strikes a balance between aspiration and familiarity. The former lifts the soul; the latter makes you feel truly at home.“ Natalia’s portfolio is diverse, from a grand English villa and a Manhattan penthouse to a chalet in St. Moritz and beachside homes in the Bahamas. She has also designed boutique hotels in London and the West Indies. Listed in the House & Garden Top 100, Natalia’s work has been featured in Architectural Digest, FT How to Spend It, House & Garden, Galerie, Christie’s Interiors, Harper’s Bazaar, Interior Design Magazine, Soho House Notes, and more.

Michal Silver studied art history whilst undertaking a parallel degree in painting & sculpture in art school and from there headed into the world of fashion, working as a designer for over 15 years in New York and Paris. She relocated to England and joined Mulberry in 1997 as Head Designer for both the Men’s & Women’s collections. It was during Silver’s time at Mulberry and the encouragement from the then owner Roger Saul, to use the fabrics from the Mulberry home collection, which led to Silver discovering a new world of colour, pattern, texture and igniting her passion for textiles. With Christopher Farr Cloth, Silver has worked with various designers from Kit Kemp and Kate Blee to the archives of the renowned textile weaver Anni Albers, Michael Szell and Raoul Dufy. The choice of designers and artists is hugely personal, Silvers says she always looks for ‘an original voice.