Sleep is fundamental to helping us feel better, and good quality sleep is even more important. At Neptune our decades of expertise in crafting quality furniture, such as solid oak bed frames, meant that when it came to making our mattresses, we knew we could only work with the best in the craft.â€�ÌýÌý

Ìý

Partnering with Harrison Spinks, whose mattresses prove how true luxury can be both responsible and supremely comfortable too, was an easy decision for us. ‘They are a fifth-generation Yorkshire business that believes in doing things the right way, a sentiment that is very important to us at Neptune,â€� says Sophie Miller, Neptune product developer.ÌýÌý

Makers of beds since 1840, the Harrison Spinks factory sits in West Yorkshire, with the 300-acre farm just 18 miles away. It is where, as well as tending to the sheep, they grow the natural hemp fibres and linen flax used in the mattresses. The home-grown use of natural materials is what sets the company apart and was a key reason for us working together on our new Dewsbury mattress ³¦´Ç±ô±ô±ð³¦³Ù¾±´Ç²Ô.â€�â€�Ìý

Ìý

We spend a third of our life in bed, andÌý¾±³Ù’s in this knowledge that Harrison Spinks prioritises materiality and sustainability with every design. ‘In addition to using wool from our farm, we are the first bedmaker to partner with British Wool to use 100% traceable British wool, so we know exactly where ¾±³Ù’s sourced. We also use our own home-grown hemp, as well as sourcing from a co-op of other local farmers,â€� explains Rebecca Mayes, our account manager at Harrison Spinks. ‘Every mattress is built on the belief in doing things the right way. And for us, that means caring where everything comes from. ±õ³Ù’s why we grow natural comfort filings on our farm, weave our fabrics in-house and make our own award-winning springs.â€�â€�Ìý

Ìý

Over 20 pairs of hands are involved in the making of just one mattress, including hand side-stitching, tufting and edge-taping. Ensuring that craft and traditional making techniques are honoured, Rebecca explains how the home-grown fillings are delivered to the nearby factory, scoured and cleaned before becoming the unique filling pads: â€�They are then generously layered with our own-design springs to provide the ultimate in comfort and support.’Ì�Ìý

And ¾±³Ù’s this attention to craftsmanship that aligns Neptune and Harrison Spinks so well. Rebecca explains, â€�By handcrafting our mattresses, using home-grown natural fillings and in-house manufactured springs, we can ensure everything is done with integrity and built for longevity.â€� °Õ³ó²¹³Ù’s the answer to sleeping well.â€�Ìý

Ìý

Explore our mattress collection in-store or online.

Open-plan kitchen-dining or a narrow galley space, our design director, Fred Horlock, shares his expert tips onÌýhow to make the most of your °ì¾±³Ù³¦³ó±ð²Ô’s footprint.Ìý

NO. 1

Open-plan rooms can be generous and airy, but »å´Ç²Ô’t feel the need to fill every inch of wall space with fitted cabinetry. This roomy layout enables keen cooks to maximise storage and prep areas and introduce flexible pieces like an extending dining table. Use furniture and rugs to clearly define the different areas.Ìý

NO. 2

A symmetrical floorplan, with the dining table at the centre, helps the room feel balanced and calm. You can change the pace with shortened stud walls (‘nibs�) or even a bank of high bookcases to create a dual-use room with a cosy living area away from the kitchen action.

NO. 3

Tuck domestic elements out of the way by building a pantry or utility room so the remaining kitchen space can be focused on relaxing, entertaining and socialising. A circular dining table works well in a smaller footprint and softens the flow of the room. Adding bi-fold doors will connect inside and outside.

FRED’S DESIGN TIPS

My parents are my biggest inspiration for me breaking into design, they always imbued me and my siblings with this idea that home is really important, and it's worth looking after. By taking care of your home, it will care for you in return. I think that the joy you feel from living in a space that brings you happiness is unquantifiable and I love that I am able to share that with clients now.ÌýÌý

When we moved in it was essentially a gravel pit, there was nothing in it. We paved it with lovely sandstone pavers, and I left quite generous borders on the sides so that I could introduce lots of evergreen climbers. I also added lots of pots full of seasonal plants that I can move around the garden when I want to change it up. °Â±ð’v±ð just added the Harmondsworth dining table â€� which can seat up to ten people â€� to the back of the garden which will be amazing in the summer for entertaining. The garden is an extension of the rest of the house, we have two sets of French doors that lead out to the patio and ³Ù³ó±ð²â’r±ð open all the time during the summer.Ìý

±õ’d say my top tip for dining, inside and out, is to have an abundance of food and drink. It helps make your guests feel welcome, that they can indulge and relax. One of the reasons I love the Harmondsworth table so much is that ¾±³Ù’s wider than our indoor dining table, so for family summertime suppers I can use the food to decorate the table and place all the dishes out to share. I also always put out little salt cellars and often low level vases or potted herbs to decorate the tabletop.ÌýÌýÌý

Another tip would be candlelight. Tealights, tall tapered candles, lanterns, dot them all around the table! In summertime there is nothing prettier than eating outdoors as the sun sets and the candles begin to illuminate the garden. ±õ³Ù’s just so romantic.ÌýÌý

For interiors I always ask ‘how do I want this room to feel?â€�. Deciding on this feeling helps guide you and means you avoid just following a trend, it should make you feel more confident in your decisions. And ¾±³Ù’s the same for garden spaces. I knew that even though ¾±³Ù’s a city terrace garden, I wanted it to feel green and luscious. It had to still be functional as ¾±³Ù’s a small space, but I love that I could experiment and try different plants and locations for pots. I get a lot of my creative energy and impulsiveness out in the garden because it »å´Ç±ð²õ²Ô’t feel like a costly mistake if something goes wrong.Ìý

I use my garden as a form of therapy for sure, ±õ’m just completely in the zone and can pass a whole afternoon pottering. ±õ³Ù’s a place to decompress and detach from the other responsibilities in my life, everything becomes calm and quiet. ±õ’m also cherishing how my children are starting to enjoy the space too, they take themselves out there with a bowl of cereal or a book and seem to find that same sense of calm.ÌýÌý

Plant evergreens! They take a while to establish but if you plant them as soon as you move into a new home, the rewards are well worth it. One of my favourites is Star Jasmine, it has beautiful glossy leaves all year long, so even in the dead of winter ¾±³Ù’s beautiful and green outside. The white flowers emit an incredible smell, like a hug of fragrance. °Õ³ó±ð²â’r±ð perfect for a small urban garden. ±õ’d also suggest planting herbs in pots; you »å´Ç²Ô’t need a huge amount of space and just a kitchen windowsill works well. My advice would be to not use them too quickly, you need to let them grow and establish themselves before you start taking cuttings from them. Most like lots of sun and not too much water, and then once ³Ù³ó±ð²â’v±ð really settled in you can start taking cuttings and they will continue to bloom. Basil is a different story, but I have a lot more to say about that ().ÌýÌý

Ask me to pick between a country lane or a bustling city and I will always choose the former � that is until May. There is nothing that will keep me from heading to London to walk through the gates of the world’s greatest flower show, RHS Chelsea. For one week every year, the twenty-three-acre site in the centre of London is home to approximately 500 exhibitors, 160,000 visitors, new plants, innovative ideas, celebrities and the world’s most accomplished plants people. Chelsea brings both the unexpected and the familiar � however, the one thing you will never see is a gnome (they are banned in the grounds of RHS Chelsea).

Once wrapped in the comforting arms of the showground the surrounding chaos of the city floats away, and your senses are overwhelmed. It serves as a perfect example of why urban gardens are so important. The show exposes emotions like nowhere else â€� ¾±³Ù’s a place of happy tears and cheers and proves that gardening is as much about people as plants.Ìý
This kind of collaborative magic »å´Ç±ð²õ²Ô’t happen overnight. ±õ³Ù’s taken over 100 years to build such a strong reputation since the first show in 1913, each year is fifteen months in the planning and involves endless sleepless nights, coaxing of plants and solving of logistical conundrums. The reason why so many put so much into this bucket list event is to express their deep love of plants and demonstrate how they can change and enhance all our lives. ±õ³Ù’s not just about the clinking of champagne glasses â€� it takes horticulture forward, breaks boundaries and embraces change.

When the event was first born it was held in a single marquee and has only experienced breaks during the two world wars. What was once one small venue is now the almost three-acre Great Pavilion. ±õ³Ù’s home to perfumed roses, plump strawberries, proteas from South Africa and remarkably out of season daffodils. The portfolio of plants here is like nothing else on earth.

As well as a complete and utter indulgence of the senses, the show is a place of competition and excellence. An RHS medal is the goal for all exhibitors. ±õ³Ù’s an honour to be one of the volunteer garden judges â€� we bring with us a wide range of experience and determination to give the best possible medal. There are nine criteria on which the gardens are judged, and these include planting implementation, design layout and construction. One of the most important criteria is the brief which outlines what the designer hopes to create and the message the garden brings. The stories that the gardensÌýare designed around are highly important, especially if they are relaying an environmental or charitable message.Ìý
Show garden judging takes place over two days and involves sixteen judgesÌý and two moderators. The public can also vote for the ‘People’s Choice Awardâ€� so everyone gets to make their mark on this world-famous event. What will catch your eye this year?

Neptune at RHS Chelsea Flower Show

In 2024, we had our first exhibition space at the famous flower show, featuring a canopied dining area and relaxing sitting area which won a 5 Star Tradestand Award. This May, we will be at the show again, with our new freestanding kitchen, a dining space and an alfresco seating area. We hope to see you there.

Ìý

There is a philosophy that runs through Neptune’s design and making processes that made introducing the new Lifetime Guarantee to our furniture collections possible. Co-founder John Sims-Hilditch sums it up best, ‘From the start, I felt that if we were going to make furniture that was going to last indefinitely, then we’d needed to make the right decisions around the materials, how they were designed, and how they were engineered and made. Our first decision was never to use MDF or chipboard because we could see they didn’t have the longevity that we would want.�

The materials

Nearly thirty years on, this commitment to long lasting craftsmanship remains. Solid timber forms the heart of Neptune collections, from sofa structures to trestle tables. ‘Oak has a long history in British furniture making,� explains John, ‘it is incredibly strong but also naturally beautiful.� Teak is good for outdoor furniture thanks to its protective high oleo resin content, and tulipwood for painted pieces because it has a smooth surface that carries paint well. Birch plywood is used for inset panels on cabinetry as it gives doors a rigid dependability without being heavy. And even solid tables like the Arundel and Suffolk are designed with central panels of cross-bonded oak to create a super-strong structure that won’t warp over time. ‘No one else uses this technique because it is hard to do, but it dramatically improves the life of the tables, so we believe it is worth it,� explains John.

The design

With the materials set, the starting point for any Neptune design is to look to antiques � those very items that themselves have lasted for generations. Design lead Mike Charlton crafts mini balsa wood models that allow him to see his ideas in 3D. ‘The models allow me to play with the shapes and joints and refine them easily,� he explains. ‘A good model can tell you so much about a full-size piece of furniture, not only in its aesthetic but also in its strength and structure. If I designed the same piece of furniture on a computer, it would be more formulaic, designed the way that the computer has been programmed to work. There are no such restrictions when you use your own hands and physical timber.�

The making

‘No one is going to reinvent the dovetail joint because ¾±³Ù’s a thing of beauty as well as a high functioning piece of design,â€� says John, and most Neptune designs feature classic, trusted joinery that has been proved to stand the test of time. That said, modern technology is also integrated into the making process. ‘Our lives are spent researching and developing to understand new techniques,â€� he adds, ‘and when we come up with innovative ideas like the extending Moreton dining table which hides the extra surface leaves within a false drawer, it is a huge joy to us.â€�

Wholly owning the making process means quality and details are a focus. ‘We work closely with our highly skilled team at the Neptune factory in Qingdao,â€� says Mike. â€�We have a good idea of how we would like the product to be made, however, we »å´Ç²Ô’t have the day-to-day, hands-on experience of the workshop, so we work together to decide on the most appropriate joinery techniques and materials. We also visit the factory every few months to review samples and make any aesthetic improvements.â€�

Our sofa collection is a case in point. All the frames are made of solid tulipwood and plywood, and the seat is built up with foam, webbing and Serpentine springs. But when it came to the cushion fillings, the design team were keen to offer an enhanced seating that balanced form and function. Some sofas have 100 per cent feather filled cushions but these require constant ‘fluffing up�. Working with the craftspeople at Neptune’s own factory, the team landed on the ‘perfect balance� of long-lasting fibre fill, wrapped up with the comfort and ‘sink-in-ability� of feathers. ‘Having that direct relationship between design team and factory means the product is always the focus and we can revise it until we get it completely right,� adds Mike.

According to neuroscientists, it is our senses that connect us most directly with our environment, through touch and sight as well as smell, helping us make good decisions and create lasting memories.

This layering of senses is also important within the home, from the comforting tactility of solid oak furniture and visual delight of a harmonious colour scheme, to the scent of baking or fresh laundry. There is even growing evidence that suggest we can be influenced to linger a little longer by the presence of pleasant odours, while various aromatherapy scents, such as lavender and peppermint, are said to improve our mood and wellbeing.

When creating our new candle collection, we took inspiration from the British countryside and the memories and emotions associated with being in nature, resulting in five distinctive scents: The Vegetable Patch, The Rose Garden, The Lavender Field, The Wild Meadow and The Herb Garden. Working with one of the world’s leading fragrance houses, we created candles made from a blend of soy and rapeseed wax, which hold and release essential oils slowly and effectively when burning. These natural fragrances often contain aromatic compounds released by trees and plants known for their relaxing properties, and inhaling these scents can help to lower stress levels and promote a sense of calm and well-being.Ìý

±õ³Ù’s commonly agreed upon that the scents of nature have a positive effect on our mood. ‘These subtle scents in outdoor environments, such as an April dawn in the countryside or the heat of the day in a city in August, are mutable and can shift in the space of five paces,â€� says Lizzie Orstrom, fragrance writer and founder of . ‘I really believe that even if ¾±³Ù’s totally unconscious, we are constantly navigating and assessing places and ourselves based on this response to scent.â€�

Most of our emotional associations with a scent are created in childhood, which is the most vivid period of our lives for memory, and can influence how we introduce scents into our homes. ‘One of the most interesting things about scent is that it elicits a visceral or emotional reaction before we have a linguistic response,â€� adds Lizzie.Ìý

As with mood lighting, a soft scent of thyme or lavender, both of which feature in our new candle collection, can have the same calming effect as dimming the lights or turning on a lamp, creating an ambience throughout the home. ‘Connecting the senses is a great idea, especially thinking about colour, light and touch,� explains Lizzie. ‘That might be harmony between the senses or creating an element of surprise, such as a more vibrant scent you associate with joyful childhood memories being used in your serene living space.�

From the earthy scent reminiscent of a grandparent’s vegetable garden, to the joy of receiving a fragrant bouquet from a loved one, welcome the outdoors in with scented candles and relive those precious memories.

Ìý

Meet our new scents...

The Vegetable Patch

This fresh scent is reminiscent of walking amongst a summer vegetable garden. Top notes of ripe tomatoes and green leaves keep it sweet and uplifting, while being grounded by an earthy base of oakmoss.

Ìý

The Rose Garden

A soft floral scent which captures the aroma of a blossoming rose bush at the heart of a traditional British garden. This scent has top notes of rose with a touch of soft violet and grounded by a musky base of patchouli.

The Lavender Field

Lavender’s recognisable herbal scent brings moments of calm into the home. Spicy top notes of pink pepper blend with aromatic lavender, grounded by a musky base of patchouli.

The Wild MeadowÌý

A truly floral scent reminiscent of a meadow in full bloom, with bees buzzing and grasses swaying. Soft notes of wildflowers and sweet petitgrain blend with an earthy wood base for a light summer scent.

The Herb Garden

An instantly refreshing scent that captures the essence of freshly chopped herbs on a spring day. Cooling peppermint, thyme, and basil combine with a touch of green galbanum, grounded by earthy accords.

Discover our new home fragrances in store now or explore the full collection here.

When the Eliza sofa, with its single cushioned seat and exposed oak frame, was launched in 2024 it had gone through months of prototypes and reviews (see Stories Vol 20 for the full story). But that wasn’t the end of the Eliza’s journey, as John Sims-Hilditch, co-founder of Neptune explains: ‘Having designed the upholstered Eliza sofa and brought it to life, we saw it could also work with a loose cover, a relaxed look popular in Belgium interiors and one ·É±ð’v±ð always admired.â€� And so, an evolution of the Eliza design emerged, the same elegant proportions as the upholstered version, now with a more informal loose cover.

This refining of designs to reflect lifestyles is hardwired into Neptune’s DNA. The new freestanding, solid wood double Suffolk larder is a case in point. A fitted version had existed for years but customers, kitchen designers in stores and our installation teams all clamoured for a freestanding option. And so, a moveable option has been created, making the fitting process simpler and offering more flexibility for customers.

According to John, there is a balance to be had however, a need to understand when a product requires more work and when it is ready to launch. ‘As designers, you can keep going forever,� says John, ‘but you need to get to a point where a piece looks and feels fabulous and then it is time to let it go. When we launched our kitchen cabinetry nearly twenty years ago, we knew we wanted internal lighting in the cupboards, but the technology wasn’t ready, so we didn’t wait to launch the kitchens. We just introduced lighting as soon as we could.�

This ability to refine a design until it reaches a standard deemed ready to launch is made possible, in part, because we wholly own our design and manufacturing process. ‘In order to create homes that make people’s lives better, you have to go beyond the fundamentals,â€� says John. ‘We understand that if you are going to make a kitchen, ¾±³Ù’s not just about the cupboards and drawers, ¾±³Ù’s about how the pieces feel, the way a door catch closes, and the pleasure and experience of daily use. You can’t achieve that level of detail if you’re not in control of your manufacturing process.â€�

The Wiltshire based design team work closely with the manufacturing team to invent solutions and resolve challenges. ‘We do our own designs, we select our preferred materials and specify the joinery techniques used,� says John. While other manufacturers might be guided by what the factory producing their pieces can offer, Neptune’s production house works side by side with the design team to refine and deliver the optimum results. ‘By owning the whole process and making everything from solid wood, we can be sure of the quality we are delivering,� adds John. ‘It is why we can confidently give customers lifetime guarantees on our kitchens.�

Ìý

Our relationship with pattern is profoundly personal. Take the stripe. For some, stripes are inherently linked to formality, evoking the structured elegance of a tailored dress shirt. For others, a simple stripe conjures up the laid-back charm of beach huts and umbrellas, suggesting a sense of nostalgia and sea-side frivolity. Either way, the patterns we are drawn to are an expression of our identity, reflecting our tastes, memories, and experiences. Ìý

Specialising in elegant but inviting interiors, designer Jessica Buckley offers this advice: ‘If you are unsure how to start incorporating pattern into your home, collate images of rooms with patterns you really love and pull out the commonality: are you drawn to big floral prints or sharp stripes for example?â€� By understanding these preferences, we can learn to confidently incorporate patterns into our interiors, creating spaces that feel layered, personal, and effortlessly cohesive.Ìý

In the living room

‘When designing for different rooms, I always consider the functionality first,� says London-based interior designer Eva Sonaike. ‘In the living room, where social interaction is key, mixing patterns of different scales adds energy and warmth, encouraging conversation.�

Begin with a striking print â€� perhaps on a sofa, footstool, or rug â€� complementing it with one or two smaller-scale patterns and solid plains to maintain balance. It's essential to view the room holistically, distributing patterns evenly to create harmony. For example, if you opt for a large-scale pattern on an armchair, offset it with printed cushions (like our new Frida and Dora cushions) on a plain fabric sofa on the opposite side of the room, to create a dynamic yet cohesive design.ÌýÌý

In the bedroom

In the bedroom, ¾±³Ù’s the textiles that truly bring everything together, from the bedding and headboard to armchairs and throws. To introduce patterns, without overwhelming a space designed to be restful, choose soft, small-scale prints or stripes in muted tones. ‘I would fully advocate starting small with a throw, headboard or small piece of upholstery,â€� suggests Jessica Buckley. Our new Elle and Etta bedspreads are perfect for this, offering delicate designs in a variety of subtle hues. The Jacquard patterns, woven from pure cotton in Portugal, lend a gentle softness to any bedroom.ÌýÌý

In the dining room

The opportunity to be playful is greater in kitchen-dining spaces, where tabletop accessories are often seasonal and less of a long-term commitment. From tablecloths and napkins to ceramics and glassware, pattern can be incorporated at any stage. Our new organic floral Fife table linen collection is traditionally block-printed by skilled artisans and brings a touch of colourful charm, while our well-loved, subtly striped Maeve linens offer a more understated approach to creating patterned tablescapes. You might even venture into patterned crockery with our Amberley stoneware collection. The key is to style boldly and with confidence; a thoughtful mix of patterns, held together with layers of unembellished surfaces, can create a truly captivating look.Ìý

Split pea soup

When cooking plant-based dishes, ¾±³Ù’s important to remember the protein content. Split peas or lentils are a great source of protein, and this soup not only looks beautiful and tastes delicious but is also great as a light lunch served with warm, crusty rye bread. Serves 4.

What you'll needÌý

• 90g shallots
• 2 cloves of garlic
• 100g carrot
• 1 stick of celery (70g)
• 7g ginger
• 200g split peas
• 1200ml water
• 10g vegetable Boullion powder
• ½ tsp turmericÌý
• Olive oil
• For the garnish
• 25g each of pumpkin and sunflower seeds
• 1 tbsp soy sauce

What to doÌý

1. Chop the shallots, carrots and celery to 5mm dice. Heat olive oil in a saucepan and add the diced vegetable mix, garlic and ginger. Fry gently, then turn it down to sweat, stirring occasionally. Add the turmeric and the split peas, stir, then add the stock and measured water. Cover with a lid and simmer gently for 45 minutes until the split peas are completely soft.
2. Transfer the soup to a blender. Process until silky smooth, adding a little water if needed to achieve the texture of thick double cream. Pass through the sieve, season to taste and keep warm.
3. Scatter the seed mix on a baking tray and roast for 10 minutes at 180°C in the oven. Remove, sprinkle with soy sauce and allow to cool.
4. Pour the soup into 4 soup bowls. Garnish with roasted seeds and a drizzle of olive oil. Serve straight away.

Roasted beetroot and butter bean supperÌý

This dish is a family favourite as it is so tasty and reminds us of Italy, where sage is an important ingredient in many pasta dishes. We go big on sage at home, but if you »å´Ç²Ô’t have any to hand, you can always substitute with parsley or other herbs. Serves 4.Ìý

What you'll need

• 600g beetroot
• 400g Chantenay carrots
• 2 cans of organic butter beans
• Bunch of fresh sage
• 200g feta or goat’s cheese (optional)
• Extra virgin olive oil
• Garlic salt and pepper
• Pinch of chilli flakes

What to do

1. Slow roast the beetroot by wrapping each bulb tightly in foil and cooking in the oven for about 1 hour at (fan) 200°C. Check they are cooked by inserting a skewer into the beetroot to ensure it is soft. When cooked, roughly chop up and set aside.
2. Drizzle the carrots with olive oil, garlic salt and pepper and, in the same oven, roast them whole for 25 minutes.
3. Empty 2 cans of organic butter beans into a saucepan with the aqua fava juice from the tin and leave them to gently simmer for up to 10 mins. Season with garlic salt, pepper and a pinch of chilli flakes.
4. Meanwhile roughly chop up a handful of fresh sage leaves and lightly fry with olive oil and a knob of butter until crisp. Add a sprinkle of garlic salt and pepper to taste. Toss the beans into the sage oil and butter and heat through.
5. Dish the roasted beetroot, carrots, butter beans and sage onto a plate and, if you wish to, crumble over a block of feta cheese or goat’s cheese. Serve immediately.

Chocolate honey pots with chocolate soil and rose sorbetÌý

This little chocolate pudding really packs a punch and has the advantages of extra virgin olive oil and dark chocolate � both highly beneficial ingredients on the Blood Type Diet, which we follow at home. The delicate rose sorbet is a lovely palette cleanser and balances the chocolate perfectly.

What you'll needÌý

For the chocolate pots:

• 300g dark chocolate, 53-55% cocoa solids, coarsely grated
• 110ml extra virgin oil
• 2 pinches of sea salt
• 360ml boiling water
• 40g honey

For the sorbet:

• 245g caster sugar
• 15g dried rose petals
• 545g water
• 1 tbsp glycerine
• Juice of 1 lemon (30ml)

For the chocolate soil:

• 100g caster sugar
• 2 tbsp water
• 75g dark chocolate, 53-55% cocoa solids, coarsely grated

What to do

1. Melt the chocolate over a bain-marie. In a heatproof mixing bowl, combine the chocolate with the boiling water and add the honey, olive oil and salt. Gently whisk the mixture until it is silky smooth and cool to the touch. Pour the mix into 4 to 8 pots and put in the fridge for 4 hours to set.

To make the rose sorbet

1. Bring the sugar and water to the boil and simmer for 10 minutes, add the rose petals and simmer for a further 5 minutes, then add the lemon juice and glycerine. Stir through. Remove from the heat and leave to sit for 30 minutes. Drain the liquid and give the petals a squeeze.
2. Pour into a container and place in the freezer uncovered. Leave for a couple of hours until the edges start to freeze. Stir the mixture and allow to freeze again, repeat until frozen. Blend the sorbet to give a smoother consistency then return to the freezer until ready to serve.

To make the chocolate soil

1. Heat sugar and water to around 137°°ä then remove from the heat and quickly stir in the broken-up chocolate, keep mixing until the soil is a crumbly consistency.
2. Sprinkle a little chocolate soil onto each chocolate pot and top with a scoop of sorbet. Serve straight away.

Conjuring images of ancient tapestries aged with hues of burnished gold, sun-bleached fields of pale grains, or the earthy sweetness of that most regal of spices, warm yellows â€� from richÌýSaffron to our new pale and creamy Polenta â€� do more than just catch the eye; they capture the senses. These hues stand apart from their brighter counterparts on the colour chart. Deeper, earthier, and more pigmented, they offer a sophisticated richness that distinguishes them from sharper, acid yellows or pallid paler shades.

Ìý

Our iteration of Saffron, while introduced to the paint collection only a few years ago, is by no means a new discovery. ±õ³Ù’s a timeless shade that has been inspiring creatives for centuries, even dating back to Renaissance interiors when it symbolised enlightenment. This season, we welcome its softer sibling, Polenta â€� a creamy, pale yellow, lightly touched with a hint of black for refined depth. Richer than cream, yet gentler than vibrant yellow, it beautifully balances ourÌýyellow paint palette.â€�Ìý

Ìý

‘A warm yellow, like Neptune’s Saffron works so well on a large scale and can really bring a space to life,â€� says Taline Findlater and Victoria Gray ofÌý. To maximise its warm, uplifting benefits consider making Saffron your scheme’s foundation â€� enveloping the walls, covering your kitchen cabinetry, or even, as Victoria suggests, ‘painting your ceiling to draw your eye upwards with an unexpected twistâ€�. For a striking contrast that has the same intensity and earthiness, try pairing Saffron with the dark blue of Ink, or for a softer palette, balance it with creamy off-white Salt or try a soothing tonal scheme layering it with our new Polenta.

Ìý

If you're drawn to the idea of yellow but prefer to keep it more understated, consider experimenting in spaces you use less frequently that are ripe for creativity, like a guest bedroom or a downstairs loo. Interior designer Lucinda Sanford suggests ‘using just one shade throughout can actually soften its impact, making it feel less intense and more cohesiveâ€�.Ìý

As a mid-shade, Polenta strikes the perfect balance between a colour and a neutral tone, making it both versatile and welcoming. With a hint of lightness that’s easy to live with, ¾±³Ù’s a natural partner for fellow neutral paint shades in our collection like Salt, the pale grey of Silver Birch or fresh, creamy Orkney White, which all feature warm undertones.â€�Ìý

These warm yellows bring with them an inviting brightness that can transform spaces, especially in cooler, north-facing rooms. Their adaptability to changing light throughout the day gives them a unique vibrancy, making each room feel dynamic and alive from morning to evening. Whether used as an accent or across entire walls, shades like Saffron and Polenta remind us that warm yellows are no passing trend but a classic, heritage hue that has elevated homes from Renaissance times to today.

Discover our range of over 45 water-based paint shades, low in VOCs and made in the UK by trusted experts since 1740.

Step 1: Layered linens

Ìý

Start by deciding on your linens, whether that’s a vintage white tablecloth or a more decorative design like our new Fife collection, crafted from a cotton-linen blend with a traditional block-printed floral pattern. The choice can set the tone for your scheme, taking hues from a coloured tablecloth and echoing them through glassware, accessories and crockery.

Our seasonal shade, Polenta, influenced our table setting dressed by Meaghan Hunter, Neptune art director and stylist. ‘Through the tablecloth we have this wash of creamy shades of yellow which are quite calming and harmonious. I then pulled out pops of more vibrant hues such as the tall saffron candles and a playful scattering of zesty lemons, to give the table depth and interest,� says Meaghan.

Ìý

Step 2: Timeless tableware

Ìý

Fine bone china, or artisanal stoneware, the choice will come down to whether you’re enjoying a relaxed or more formal occasion. Crafted by skilled artisans in Portugal, our Amberley collection leans more towards relaxed dining, its speckled yellow glaze ties back to the shades woven through the Fife tablecloth.

The traditional recommended space between table settings (and adhered to by those laying tables for royal banquets) is 45cm from the one place setting to the next. But if space is tight, remove side plates � used here for bread wrapped in our matching Fife napkins � and stack starter and main course plates on top of each other instead.

Ìý

Step 3: Accented accessories

Ìý

Look to mix complementing shades into the scheme through glassware (our yellow Ella glasses are the perfect choice) and cutlery, before turning your attention to accessories. ‘Cutting the stems of the white Narcissus flowers short, I arranged the flowers in small posies in our Lillian glass tealight holders,� explains Meaghan, ‘and then used different heights of the Ellington glass candlestick holders, three of each size, to create symmetry down the table, placing a posy between each.�

Step 4: Simple swaps

Ìý

If you love the natural grain of your solid wood table and want a more low-key tablescape, swap out tablecloths for textured placemats (like our Ashbourne) and patterned napkins instead. ‘When switching from a more decorative tablecloth I suggest focusing on larger centrepieces, with a variety of taller vases of flowers or a larger collection of candlesticks to keep the table exciting,� adds Meaghan. The mix of textures from exposed oak to natural rattan, together with the larger decorative centrepiece, will still add plenty of interest to the table.

Ìý

For more styling ideas for your table discover more of our tabletop collection.

Meet the freestanding heroes

Borough islandÌý

This freestanding, marble-topped island makes a great centerpiece for those who »å´Ç²Ô’t have the floor space for a more permanent statement island. Crafted from natural oak, and gently softened at each corner, its sleek, slimline design allows for effortless versatility, seamlessly adapting to the style and flow of any kitchen. Complete the look by tucking a pair of our new Tilbury woven bar stools underneath.

Borough chopping blockÌý

Solid but not chunky. Traditional and yet refined. The Borough chopping block is perfectly proportioned to sit at the end of a row of cabinetry, serve as a mini-island in a smaller kitchen, or elegantly occupy an unused corner. Its robust, end-grain oak surface allows you to treat it as a functional chopping board, creating a lived-in look that will enhance its enduring appeal.Ìý

Farlow larderÌý

A contemporary take on a centuries-old design, the Farlow larder cabinet features clean lines, and fluted glass doors, and can be easily moved around your kitchen-dining space â€� a convenience that will ensure its longevity as your home evolves. Crafted with a painted tulipwood frame, exposed oak interior and adjustable zig-zag shelving, ¾±³Ù’s a functional design built to last a lifetime.Ìý

Discover all our freestanding pieces, crafted to complement any kitchen.Ìý

The classic care packageÌý

The gifts you include »å´Ç²Ô’t need to be large or expensive. Here, ¾±³Ù’s truly the thought that counts. Choose items that exude care: a tube of hand cream and a duo of bath and body wash (like the ones in â€�our bath & body collection), a candle,Ìý a soothing herbal tea (or their favourite blend) and a wellness journal likeâ€�. If you wanted to make it a bigger present, you could also pop in a â€�wool blanketâ€� that’ll feel like a warm hug. Nestle it all into a box filled with tissue paper so they can slowly peel back each layer to reveal the lovely surprise within.Ìý

The fireside setÌý

Anyone who’s lucky enough to have an open fire, a log burner or an outdoor fire bowl at home will enjoy this present, and ¾±³Ù’s one that’ll instantly bring to mind good memories of cosy evenings and campfire gatherings.Ìý

Begin with a basket that they can use for kindling but which, for now, will hold the rest of the gifts. Our smallâ€�Redford is perfect for the job as it isn’t too large. Next, pop in some natural firelighters (the sort made from straw or wood chippings), a prettily-packaged box of matches (we love by The Archivist), a bundle of pinecones dipped in wax scented with essential oils (which you can DIY yourself or buy online) and enough toasting forks for everyone in the family ( from RE are our favourites). You can wrap the presents up in the basket, but, as with all these gift ideas, we think ¾±³Ù’s perfectly lovely just to tie a big bow around the basket and perhaps pad out its contents with shredded tissue (a great fire starter in itself). Just »å´Ç²Ô’t forget the marshmallows if toasting around the open fire bowl!Ìý

The hot chocolate kitÌý

This one’s the perfect gift for a family (whether the children are young or old) because ¾±³Ù’s something everyone can enjoy, and is especially good if you »å´Ç²Ô’t know all the recipients well because there’s not much chance you can go wrong. Depending on your giftee’s tastes, you could also do something similar with tea, coffee or cocktails.Ìý

To your mug or set of mugs â€�(choose generously-sized ones like our â€�large Bowsleyâ€�´Ç°ùâ€�Molland cappuccino designs), Ì�add a clip-top jar or paper bag filled with a homemade hot chocolate mix –â€� is our go-to and is appropriately luxurious. We do think homemade is best for thoughtfulness, but if you’re pressed for time, there are some delicious and well-packaged pre-made blends around that you can pick up during your weekly shop (look out f´Ç°ùâ€�). Finish off with marshmallows and, for all-out festivity, red and white-striped candy canes that can be used as stirrers.Ìý

The foodie parcelÌý

There are many people who’ll appreciate a food-themed gift, not least all the cooks in your life. And just like the hot chocolate kit, you can’t really go too far wrong with food.Ìý

We’ll start this one either with our long Ì�Borough chopping boardâ€�(in which case you’ll probably want to arrange all your gifts in a box or basket) or a tray that they can then use for serving and breakfast in bed. To that, add a cookbook you know they’ll love, or else one that’s well-thumbed in your house (stuck for ideas? Our personal recommendations would beâ€� a²Ô»åâ€�, while serious foodies will also enjoyâ€� ´Ç°ùâ€�. If you want to push the boat out, you could also include our kitchen towel and a well-made chopping knife or a beautiful copper milk pan, but otherwise, you now just need to add a selection of ingredients. Go for the artisanal over the everyday â€� smoked Cornish sea salt or fleur de sel from Brittany, spice blends like zaatar, ras al hanut and rose harissa, and traditional festive sweets from the continent like panettone, panforte and lebkuchen.Ìý

This is another elevated gift idea you could adapt to suit your recipient, switching from cook to baker. For this alternative,â€�begin with ourâ€�Lewes pouring bowl, add a book like or , pop in a wooden spoon and a selection of cookie cutters, then put together your own gingerbread mix in a jar and include a note on the recipe, or seek out sugars flavoured with vanilla and lemon and baking spice mixes ( do a great selection).Ìý

Ìý

Ready to start creating your elevated gift? Start with our gifting edit, where ·É±ð’v±ð gathered together an curated collection of presents, including artisanal tableware and luxurious woollen throws that make great elevated gifts in themselves.Ìý

Cook’s space

A well planned kitchen layout is your best friend at busy times like Christmas. The classic triangular arrangement of fridge, sink and hob is an old favourite but a wonderfully efficient way of working. Nerine, kitchen designer at Neptune Fulham, explains, “The cook needs to be in the middle of the action - in the middle of the triangle - all the helpers should work around this space, ideally not crossing paths or walking through the cook’s space.� She also suggests positioning your festive helpers on the opposite side of a kitchen island or table, away from the main action.

And next to helpers, plug points are the most useful asset when you’re cooking up a festive storm. Nerine recommends fitting them at the end of island units or in the back of larder cupboards where the microwave - or even a kettle - can be positioned, keeping the cook’s area clutter free.

Easy access

Access to essentials is key for a smooth running kitchen - and that »å´Ç±ð²õ²Ô’t just mean having oils and salts near the stove for cooking. Nerine recommends installing your spice rack and knife block in a drawer adjacent to the prep area to keep your space tidy.

Any food prep requires plenty of handwashing, so a soap dispenser and plenty of freshly laundered towels hung on a built-in sliding towel rack will also be well used.Ìý

Slim, integrated chopping block units, plate racks and open racks are all useful design solutions for busy cooks who need equipment close to hand, but cumbersome items like extra large roasting tins and deep saucepans might need to be extracted from their usual place at the back of a cupboard ahead of the big day.Ìý

Order within

There’s plenty of organisation that can be done ahead of the big day � the benefits of which will be reaped for months afterwards. We all have a junk drawer, a muddle of can’t-throw-away things - Blu Tac, string, pens, the odd nail varnish and batteries of varying sizes. Drawer dividers will section off cutlery trays (our Barlow or Ratcliff dividers are a good option), or even shallow boxes, are a great way of making sure all the muddle is sorted.

And if you’re fond of a gadget, a built-in charging station is a handy device for keeping electronics (and their leads) out of sight too. Our Chichester charging station is made of oak with a leather surface that slots into a drawer that can be used to charge - and hide - up to six devices. An essential for Christmas lunchtime, surely.

What is it about the dining table that puts it at the very heart of our homes? Is it its sheer size that makes it dominate? Or its position in a key reception room rather than out of sight and out of mind? Is it the activities that happen upon it, or does history have a hand to play in how it's earned its position as one of the home's hardest working heroes?

The dining table dates to way back when. The ancient Egyptians resurrected makeshift pedestal tables using rock and stone to banquet upon. And, over in early Europe, the Romans feasted on handmade tables in luxurious marble, bronze or hewn timber.

These ancient empires fed the dining table's growth. A love of lavish entertaining cemented its use as the place where food is served and shared. Though it wasn't all a case of formal dinners and sumptuous spreads. The rise of the round table is said to have started with the Romans too - for less grandiose occasions where nobody was designated as head of the table and everyone had equal status, easily able to make eye contact with one another.

Closer to home still, Britain played a role in the table's evolution. During the feudal period, tables were at the heart of court life, with a grand rectangular table positioned in a castles great hall for master and guests to gather and feast. Medieval monasteries honoured the ever-stretching refectory table and accompanying benches - a custom still adhered to in today's historic institutes, from the dining halls of Oxford and Cambridge colleges to London's Inns of Court.

The typical refectory table would have been grand in scale and rectangular in shape (with a removable top - to be followed by the invention of the draw-top table in the 16th century where drop leaves and runners first started to appear).

It was timber in material (oak and elm were most common, though walnut and cherry were not unusual), and trestle-based in design, though the round table wasn't forgotten. In fact, Winchester Castle in Hampshire remains home to one of the few surviving examples of an original round table from the Middle Ages. Away from the pomp and ceremony, it formed the base for regular home life.

Families were typically much bigger back then and so the table needed to be able to comfortably fit everybody around it. Lower-class families had kitchen tables (often placed in the living room as the table for everybody to use as they saw fit), whereas those in the middle and upper classes were upgraded to the more stately dining table. Either way, the table's reputation was confirmed as the home's gathering point, be it for food or family affairs.

Of course, as the centuries ticked by, variations in design ensued. Italian-made tables of the late-17th and early-18th centuries observed marquetry and rare materials as a taste for the ornate took hold. Indeed, Charles II was presented with a silver-clad table by the City of London to mark his restoration as King of England. And more recently, we welcomed French bistro table renditions, born on the 19th-century café scene where pavement space was at a premium.

Ìý

The dining table today

Modern-day masterpieces haven't changed much from those of old. Most bear a heavy resemblance to the long-stretching refectory table, the charming bistro sets made for two à la France, and the iconic round table where knights once gathered.

The most notable evolution? The table's forever extending function. Sure, food still fills its tabletop, but today's dining table's notion of sustenance is more a case of nurturing togetherness and a sense of community. Homework is done upon it, arts and crafts too, and family debates and important discussions are held at it. The dining table is the new desk - no stranger to laptops, cables and paperwork in place of plates, cutlery and napkins. It's where we work from home. It's the new boardroom table from which you 'dial in'. Indeed, food writer and chef Prue Leith paid £1,100 at auction for food author Elizabeth David's old bleached pine kitchen table for it was "where she cooked her omelettes and wrote most of her books."

Yes, the dining table is a workhorse and a powerhouse, a piece of furniture that serves to please as much as it does seat to feed.

Shop our collection of dining tablesÌýdesigned to last a lifetime, providing a timeless backdrop for gatherings year after year.

±õ³Ù’s 1990. Linda Evangelista lounges against a wall lip-syncing to what would become George Michael’s iconic ‘Freedomâ€� video. And the wall she leans against? It was decorated with ‘Edwardian Dadoâ€� panel design, a timeless pattern with elements of emerging art deco influences in the wave motif, simplistic floral heads and elegant lines of symmetry. Just one of many occasions Lincrusta wallcoverings have played a supporting screen or stage role â€� from appearances on Netflix’s Bridgerton to decorating the set of the stage show Cabaret at London’s KitKat Club. And now, the Lincrusta team have collaborated with . to reimagine the latter’s botanical patterns in a contemporary 3D take on the much-loved ‘â€�, ‘â€� and ‘â€� designs that, for the first time, allows the user to apply their personal colour interpretations.

Delve deeper into the history and properties of the Lincrusta product and it is a surprisingly sustainable material with an unexpected adaptability that works in interiors from Georgian to contemporary. As Alison Keane, commercial director at Lincrusta, explains, ‘Once ¾±³Ù’s painted, it cures to the wall and is incredibly durable; it becomes part of the fabric of the building like the architraves and skirtings.â€� In fact, it was the ornate plasterwork of grand Georgian and Victorian houses that Lincrusta founder Fredrick Walton wanted to replicate for a wider (albeit discerning) audience. ‘He democratised the art of plasterwork that had been the reserve of stately homes until then,â€� adds Alison.

Ìý

The crafting of the deeply embossed panels hasn’t changed much since Walton began producing them in the late 1800s. The metal rollers used at the Morecambe factory are hand carved, and each panel is individually inspected and dated for quality control. Made from linseed oil mixed into a paste and pressed onto FSC certified backing paper, the wallcoverings dry naturally into a flexible roll that’s then adhered to the wall before being primed and painted. Once dry, it hardens up so is an ideal solution for busy areas like hallways and can even be used in bathrooms in place of tiles (though not in the shower cubicle itself!). ‘Thanks to the deep embossed patterns, which create natural light and shadow textures, one paint shade can be enough,’Ìýsays Alison, ‘though we say the only limit is your imagination!â€� Layering on more colour can be the fun bit: after the first colour dries, highlighter layers can be added using a variety of paint techniques. ‘The charm of Lincrusta is that every panel is unique because ¾±³Ù’s always hand finished,â€� she adds. ‘And if you feel like a change, ¾±³Ù’s simply a matter of repainting, just as you would any wall, making it a sustainable option thanks to its longevity.â€�

with Morris & Co. made sense from the start. Fredrick Walton and William Morris were practically neighbours (Walton in Sunbury-onThames and Morris in Merton), and both set up their businesses within a year of each other. Yet ¾±³Ù’s not known if they ever met. It has taken until now for two brands with such synergy to work together to create the three designs. Jessica Clayworth, lead designer at Morris & Co., explains, ‘It felt a very natural extension of the patterns. The way the leaves curve in the “Acanthusâ€� design worked well in relief, and it was great to see “Fruitâ€�, with its intricate dots and details, come alive.

Used to working in classic Morris & Co. greens, browns and berry shades, Jessica was excited by the colour options this collaboration created. ‘I always think of Morris in deep and moody colours, but I was surprised to see how well the patterns can take soft, neutral shades too,� she says. ‘William Morris was always challenging patterns to see how far he could push the boundaries, and I think he would have loved the extra dynamic of these embossed designs.�

As the chef and proprietor of in Devon (together with wife Olive), Hugo Guest brings an artisanal approach to his cooking.ÌýThis is a recipe that was handed down Hugo by his dad, who takes on the annual task of making gallons of marmalade at the start of the year when Seville oranges are briefly in season. This method avoids the hassle of squeezing orange juice and scraping out pith and pips. Preparing the fruit overnight softens it, making it easier to cut and, ultimately, saving time. Hugo and his family also make limoncello around the same time, and adding a few tablespoons to the marmalade elevates this classic recipe.

Ìý

What you'll need

• 1.5kg Seville oranges
• Juice of 2 lemons
• 2l water
• 2.25kg sugar
• 8 tbsp limoncello

What to doÌý

1. ÌýPlace the oranges and lemon juice in a large pot and cover with two litres of water. If the water »å´Ç±ð²õ²Ô’t cover the oranges, use a smaller pot. Weigh the oranges down with a plate to keep them submerged if necessary.
2. ÌýBring the pot to a boil, cover, and then reduce the heat to a gentle simmer.
3. ÌýSimmer on low for about two hours, or until the fruit is soft, then turn off the heat and let the mixture sit, covered, overnight.

Ìý

1. ÌýRemove the lid and lift the fruit into a colander, leaving the orange liquid in the pot.
2. ÌýCut the oranges in half and scoop out all the pips and pith, adding them to the pot with the liquid. Set the peel aside for now.
3. ÌýBoil the juice, pips and pith for six minutes with the lid off .
4. ÌýStrain the juice through a sieve, pressing the pulp through with a wooden spoon. This thick liquid is high in pectin and helps set the marmalade. Pour half of it into your largest cooking pot or preserving pan.
5. ÌýCut the orange peel as thinly as desired and add half to the liquid.
6. ÌýAdd half the sugar and stir over a medium heat until the sugar has dissolved.
7. ÌýBring the pot to a rapid boil for fifteen-twenty minutes until the setting point is reached.
8. ÌýStir in four tablespoons of limoncello and let the mixture sit for ten minutes to cool slightly, then pot, seal and label.
9. ÌýRepeat the process for the remaining batch.

With a job that entails a lot of time looking at wonderful British homes, I’ve noticed that, as ³Ù³ó±ð²â’v±ð become increasingly decorated, there’s been a desire to extend the way we curate our living spaces to bring personality and comfort to our bathrooms. There’s been a shift away from contemporary or spa-style schemes that favoured sleek, hard surfaces and neutrality, and instead, the current mood is more relaxed and layered, ensuring we create personal relaxation zones to linger in.

Some may note that this harks back to the ethos of the great twentieth-century decorators such as John Fowler or Nancy Lancaster, who extended comfortable country house style into the most functional of spaces. However, there’s also something playful and current about this approach too. Practical and unique, today’s best schemes combine clever, multi-functional designs � such as Neptune’s new Ophelia footstool � with antiques and artwork, speaking about the personality of those who use them whilst ensuring they function beautifully.

Create your relaxation zone

Ìý

Artwork in above photos: A Beautiful Kind of Freedom 1,

‘Floors and walls take up the most surface area in a room, and floors can be incredibly impactful,� says interior designer Natalie Tredgett, who recommends building a scheme by starting with the rug: ‘There are many options for paint colours, wallpaper and fabrics that can complement a chosen rug, which is easier than trying to find one to match an existing scheme. By starting with the rug, you can avoid the need to opt for a plain colour, allowing for a more cohesive and interesting design.�

In an already decorated room with pale, calming tones on walls and furniture, a rug can be the perfect vehicle for adding personality to lift the room without introducing visual clutter. ‘In a neutral space, a rug really can add texture, depth and interest,� agrees interior designer Laura Stephens. Her advice, when choosing a rug, is to bear in mind that it needn’t require a statement-making design to have an impact: ‘Sometimes, a subtle border or motif on a rug with a plain background is enough to give interest and colour to a scheme without dominating it.�

Neptune’s latest collection of rugs gives a classic heritage look a contemporary twist. The rich colours and ornate motifs of traditional Persian and Turkish rugs have been tempered � with repeat patterns and softer shades that modernise the look � without cancelling their character.

As for the correct size and placement of a carpet, Stephens advises choosing one of a generous enough size to ‘groundâ€� pieces of furniture ‘so that they »å´Ç²Ô’t appear to float around a big floor spaceâ€�. ‘Rugs are particularly effective in a larger or multi-use space to “zoneâ€� specific areas,â€� she adds. ‘For example, in a kitchen-diner, a rug under the dining table can define that space.â€�

Far from being an after thought then, a rug can be the decorative glue that holds a scheme together.

ÌýMeet the new season rug solutionsÌý

Ìý

This season includes five exciting rug collections � the Arran, Calan, Fara, Moray and Rona � all inspired by traditional Persian rugs, featuring a mix of geometric, Aztec and mixed motif patterns. In soft shades of rust, blue, cream and orange, they bring an element of subtle colour to a room. The rugs are handwoven in India by expert weavers on authentic wooden looms and use the best natural materials such as jute and wool.

For added luxury underfoot, there are also two new plush, cosy rugs made from New Zealand wool � the Laith and the Munro � to add more texture and warmth to bedrooms and snugs. In calming, neutral shades and with a tactile bobbled texture, they work perfectly with any colour scheme.

Ìý

What maketh a room? While a layering of excellent fabrics, natural textures and good lighting are high on the list of things that sort the wheat from the chaff, ¾±³Ù’s the way a space smells that truly conjures up a sense of familiarity, warmth and comfort. The best rooms beckon most â€� if not all â€� of our senses, but scent is undoubtedly one of the easiest to play with.

Fragrance has a powerful ability to evoke emotion because everything we smell is processed by the areas of the brain that also deal with feelings and memory. Explaining why you never forget the smell of your mum’s perfume, your olfactory system (rather magically) can transport you to moments in time, places or people at the drop of a hat, and can subsequently be a great way to boost your mood.

You rarely experience a scent in solus, either. Whether ¾±³Ù’s a bouquet of beautiful flowers or the relaxing flicker of a candle, we often enjoy their fruits via our eyes too, which is great at stimulating the parasympathetic nervous system (responsible for our rest and digest mode â€� the opposite of fight or flight) and ushering in a state of calm.

Bringing the outdoors in is a great place to start. Our innate human need to be around nature (also called biophilia) means that, when we tap into Mother Nature’s many plants, herbs and flowers, frantic minds are quickly eased � not to mention that greenery and other botanicals look great on a bedside table or kitchen worktop. Meanwhile, hanging some (long lasting and relatively inexpensive) eucalyptus in your shower is an easy way to transform your morning. As aromatic as it is healing, it decongests, reduces inflammation and pain, and alleviates tension � you can’t go wrong.

As a scented candle devotee, I believe there is nothing quite like marking the end of a busy workday with a match and some wax � look for notes of sandalwood, sage, lavender and jasmine to usher in chill time successfully. Similar effects can be gleaned from the same notes blended in aromatherapeutic bath oils, which do an excellent job of easing tense muscles and equally tense minds. In the cooler months, I also love to add in those that harness invigorating pine, fir or spruce as much for their congestion-clearing wonders as their cosy aromas.

A luxurious room spray can also be misted when occasion calls for it, but diffusers are lower maintenance and do their work in the background � place them where you, or your visitors, will pass by for optimal exposure. Oh, and if all else fails, simply bake some bread. There are few smells in this world that can beat it.

Warm up to Amber & Cedarwood

Ìý

This autumn, ·É±ð’v±ð launched a delicious new fragrance combination of Amber & Cedarwood, a heartwarming mix that brings together these two base notes with hints of grapefruit, saffron, vanilla and leather. Created to evoke a cosy, fireside mood, ¾±³Ù’s the perfect final layer in a sitting room, snug or hallway. Available as single- or triple-wick candles made from vegan-friendly plant wax, as well as in diffuser form, the new mellow room scent comes in recycled brown glass jars. It joins our ever-popular English Fig (perfect on a late summer’s evening), Sea Salt & Driftwood (with hints of basil and ocean mist) and Rosemary & Thyme (great in a kitchen thanks to its refreshing herbal and citrus tones).

A calming sleep zone, a personal retreat, a practical dressing area, and plenty of storage. The average bedroom has many functions to fulfil, which makes a good spatial layout an essential first step. ‘Bedrooms inevitably have large, sometimes unwieldly, pieces of furniture to fit in,â€� says Neptune design director, Fred Horlock, ‘so always try out furniture in different layout combinations before deciding where to position large pieces.â€� Aside from the bed (of which more shortly), storage can tend to dominate a bedroom, which isn’t ideal. ‘Storage is often visually “hardâ€�,â€� explains Fred. ‘If you »å´Ç²Ô’t have discreet fitted storage, then invest in a beautiful wardrobe and drawers that you’ll enjoy looking at, even if it means rotating your clothes and storing off-season outfits in another room.â€� An architect will look at a bedroom footprint analytically and might suggest dividing the room with either a floating or full wall to create a separate dressing area which keeps the storage and clutter away from the sleep zone. If this isn’t an option, look to other ways you can utilise the room’s architecture. ‘Timber elements bring a warmth to a room, so consider exposed rafters or wooden floorboards softened with rugs,â€� advises Fred. ‘And retain period elements like fireplaces where you can, bringing in freestanding furniture that feels like it belongs next to the original features.â€�

When it comes to bed frames, Fred suggests four-poster styles suit larger, high-ceilinged rooms � though the new Walton four-poster bed will work in a smaller space thanks to its lower silhouette. A timber frame suits a more traditional or cottage vibe, while a shapely, upholstered headboard like the Clemmie can work as a decorative focal point, drawing the eye upwards. ‘Treat the wall behind the bed as an extension of the headboard, be it with panelling, wallpaper or paint,� adds Fred. ‘Decorating it to complement the style of the headboard will help widen the feel of the room while anchoring the bed securely and helping to make the room feel calm.� Applying symmetry to the space will enhance that feeling of harmony so important for a good night’s sleep. You can achieve this by framing the bed between two windows or chimney recesses but also by using bedside tables and lamps on either side of the bed for balance. ‘Keep window areas clear,� adds Fred. ‘That morning light is important so place heavy storage pieces on the opposite side of the room. A large rug under the bed will help the space feel wider and, if you have room, ground the bed with a sofa or footstool at its base.� Finally, multiple layers of lighting are all-important in the bedroom. Fred suggests incorporating low-level bedside lamps and wall sconces which cast a diffused glow to keep the room feeling relaxed at night. For dressing, include some task lighting with a brighter, daytime light which will feel refreshing. And there’s your dream bedroom: practical by day, restful by night.

Three ways to sleep

Small main bedroomÌý

Large main bedroom

Today, there’s a whole industry creating objets from stone offcuts and small pieces of marble, each of which could be considered a work of art in its own right. Durable, yet soft. Light, yet heavy. Raw stone and yet smooth. For while marble is more frequently associated with solidity and strength, ¾±³Ù’s only with time that these qualities form. In fact, when the material is first quarried, ¾±³Ù’s soft and malleable, characteristics adored by craftspeople and sculptors who can work at it in any way they wish.

For the experienced stonemasons carving our new marble accessories collection, Malborough, which includes fluted bowls and elegant cake stands, the process begins by hand-sketching the design onto the small blocks sourced from marble mines in Rajasthan, India. They then begin to carefully chip away the excess marble with a chisel and hammer. Refinement is a meticulous process requiring multiple stages, starting with rasps and files to ensure symmetry, and finishing with a polishing buffer to accentuate the stone’s natural luminosity.

The resulting series of sculptural, decorative pieces in the new Malborough collection includes charcuterie and cheese platters, pretty serving bowls, and ornamental accessories like bookends and napkin rings. Each piece is carved from marble dappled with soft brown and grey veins for an objet with an impressive artistic heritage that at once feels tactile and strong, delicate and opulent.

What you'll need

• 275ml extra virgin olive oil
• 4 eggs
• 250g caster sugar
• 150g Greek yoghurt
• 200g ground pistachios
• 100g stone-ground polenta
• 2 tsp baking powder
• 1 tsp salt Butter or flavourless oil, for greasing
• 2 tbsp demerara sugar

What to doÌý

1. ÌýPreheat your oven to 170°C (150°C for fan ovens). In a large mixing bowl, combine the olive oil and eggs, whisking until ³Ù³ó±ð²â’r±ð thoroughly mixed.
2. ÌýIn a separate bowl, beat the sugar and yoghurt together until the mixture is smooth, then add this to the egg and oil blend. Gradually incorporate the dry ingredients, excluding the demerara sugar, and mix until everything is evenly combined.
3. ÌýMake as one large single-layer cake in a twenty-five centimetre springform tin. Be sure to grease the tin well and line the base with baking parchment. Pour in the batter, then sprinkle the top with the demerara sugar. Bake for fifty minutes to one hour.

Table lamps have always been a beacon of light to dark corners, but ¾±³Ù’s their ‘offâ€� mode that really transforms the room. Think of them as a decorator’s best friend, boosting any space with a quick fix of texture, height and colour. And that’s before you’ve even turned them on. While the lamp base takes centre stage, the lampshade has become ‘the new cushion cover accessory of the lighting world, providing a quick room update,â€� suggests Bath-based interior designer Sean Symington. ‘A rattan shade adds texture, linen adds warmth and cosiness, while printed designs provide pattern,â€� he continues, and each of these styles are just as impactful when the lights are dimmed.

The flexibility of table lamps is another argument for their popularity. You »å´Ç²Ô’t need to make a long-term commitment to placement or invest in concealing wires. Used on a console in the hallway to provide a warm welcome one month and placed by your sofa-side for a cocooning wash of light the next. ‘I love the idea of using lamps on a drinksâ€� trolley, or nestled into bookshelves. It creates an atmosphere and draws you into a moment in the room,â€� says Sean, who often uses a pair of lamps at either end of a desk rather than a more obvious directional task light. ‘We recently used two large lamps on a kitchen island instead of overhead pendants for a more flattering low-level light and unexpected decorative element in the room.â€�

Lamps can be dainty accessories or dramatic pieces of sculpture. Take our new solid oak Dawes table lamp with its curvaceous spherical design and handcrafted linen shade. It was influenced by the revival of the bobbin style, once popular in the mid-seventeenth century for adding a feeling of decadence to otherwise plain furniture. The glow-up treatment promotes lamps to structural objects of desire in their own right. Equally, our solid oak Mason table lamp has a distinctly recognisable design, moulding itself into the shape of an iconic chess piece and finished with a modern brass base. You’d be forgiven for mistaking it as a piece of art whether the lamp is on or off.

Ìý

Lighting lessons

Artwork in above photo:ÌýGreen Grapes,

Ernest Gimson. Not a name as familiar as that of his contemporary William Morris, but no less influential in the Arts and Crafts Movement. Indeed, his designs received an accolade from the architect W. R. Lethaby that any designer, past or present, would surely welcome. Gimson’s furniture, wrote Lethaby, was ‘one kind of “perfectâ€�, that is, it was useful and right, pleasantly shaped and finished, good enough but not too good for ordinary useâ€�. In other words, everything that the Arts and Crafts Movement stood for. °Â³ó²¹³Ù’s more, Gimson lived what he preached. He took lessons in making traditional ladder-back chairs from a Gloucestershire chair bodger (and trained local Sapperton villagers to become craftsmen in the furniture workshop he established with his fellow designers the Barnsley brothers), he used regional woods whenever he could, and he incorporated exposed pins and dovetail joints into his pieces. All principles ·É±ð’v±ð also considered when creating our solid oak, cushioned armchair, Casey.

Designed in our Wiltshire studio, the ergonomically elegant Casey takes the spindle design of the classic Windsor chair and re-imagines it for contemporary homes as a comfy, cushioned armchair. The armrests slope very gently upwards at a ‘just rightâ€� gradient, while the back reclines gradually for a relaxed seating position. The feather- and foam-filled cushions are designed for comfort and support and are available in fabric or leather upholstery. Exposed fox tenon joints echo that honest and plain, crafted approach, while the softly tapered curve of the arm helps the chair feel lighter and more contemporary for today’s interiors. Over a century on from the Arts and Crafts Movement, ¾±³Ù’s exciting to see modern British designs that honour the craftsmanship of the past while embracing the way we live now. The Casey offers the comfort of an upholstered armchair but, thanks to its exposed timber frame, enjoys a slimmer footprint, leaving more room for an inviting, generous seat. Crafted, practical, comfortable and timeless, just the way Gimson, Morris et al intended us to live

Landing on your chosen shades is the first step in putting together a scheme, but the key to success is considering how to apply those colours. The rule of thumb used by the designers at Neptune is the 60:30:10 ratio � a base colour (usually a light or dark neutral) that represents sixty per cent of the scheme, one or two complementing accent colours which account for thirty per cent, and the final highlights (usually a bolder or brighter shade) making up the last ten per cent.

It was this ratio that guided our autumn palette, a contemporary take on the refreshing colours of the early twentieth century that balances warm neutrals with sophisticated soft shades and touches of strong colour. This decorative shift came about as a reaction to the darker, more sombre shades of Victorian interiors, with the new era celebrating cheerful and fresh palettes using warm whites, sage and olive greens,Ìýmustard, terracotta, soft blues, and deepest pinks. Interpreting these colours for today’s homes means dialling up the whites to pale beiges, introducing colourful hues with enough black in them to feel refined rather than sweet, and adding a shot of energy with our new orange-brown shade, Bracken.

THE NEUTRAL BACKGROUND
Sixty per cent

Pick a warm, pink or yellow-tinged white or cream as your base colour. You could try:

Salt, a creamy off-white with a comforting warmth
Silver Birch, a pale creamy-grey, almost an oatmeal shade
Driftwood, a classic putty colour that feels calm yet cosy
Orkney White, a fresh, soft white that adds subtle warmth

THE MID-TONED LAYER
Thirty per cent

You could take two routes here: a softer palette of Cactus, Flax Blue and Lead Light; or a darker one of Constable Green, Navy and Clove. Both work well with the warm neutrals. You could consider:

Cactus, a deep, relaxing green with a gentle grey coolness
Flax Blue, a hazy blue with a touch of grey that’s muted but deep
Lead Light, a soft khaki; an earthy brown with a hint of green
Constable Green, a rich, inky green that feels enveloping
Navy, a deep, dark blue that feels fresh against white
Clove, a sultry natural shade hovering between deep plum and soft brown

THE FINISHING TOUCH
Ten per centÌý

Bracken, a vibrant, warm orange-brown that brings energy
Blakeney Blue, a fresh, true blue with an underlying warmth

For a company that first made its name in garden furniture, durability and timelessness were always going to sit at the heart of the business. ‘When we started designing kitchen cabinetry and furniture, we had a small collection, so pieces were pared back and simple, influenced by the textures and colours of the natural world and inspired by historic styles such as Georgian and Shaker,â€� says John Sims-Hilditch, co-founder of Neptune. ‘Our aesthetic today is richer and more layered but underneath, we are still true to that timeless, pared back look, ·É±ð’v±ð just built on the core.â€�

Aesthetically, certain periods of great craftsmanship have influenced Neptune’s design heritage. The Georgian appreciation of balance and application of the golden ratio of proportion regularly feeds into the contemporary designs, but the simplicity of Shaker lines and the artisan qualities of the Arts and Crafts Movement are also visible through the collections. The Suffolk kitchen cabinetry is a testament to the pared back Shaker style, while the Wycombe rush-seating collection nods to the materiality and craftsmanship of Arts and Crafts.

Materiality impacts every aspect of Neptune’s designs today. According to John, understanding wood is the first lesson we should learn from past masters. ‘Previously, furniture makers had time to allow the wood they were working with to settle into its cut state. Today life is faster, but it is still important to understand how different woods perform. From that knowledge, comes a better understanding of the design and engineering possibilities, so, for example, we use smooth tulipwood for our painted furniture and solid, grained oak for exposed pieces.�

His considered approach also explains why the business never uses materials such as MDF or chipboard in its cabinetry or furniture. Neptune is committed to making furniture fit to last one hundred years and such materials »å´Ç²Ô’t have the required longevity. ‘They are not resilient enough for long lasting jointing techniques,â€� adds John, pointing out the importance of combining crafted, heritage joinery, such as dovetail joints on furniture and butt hinges on kitchen cabinetry, with modern engineering solutions, even when they are not the quick-fix option. ‘Butt hinges require a much higher level of precision fitting but are far more elegant and reliable than many modern kitchen hinges.â€�

When the new, oak Farlow sideboard, cabinet and dresser (complete with traditional mortise and tenon joinery on the legs) were at concept stage, it was to a Neptune icon, the classic five-foot Chichester dresser, that the design team turned first. ‘The original dresser encapsulates the principles for which Neptune stands,� explains John, ‘it is elegantly proportioned, functions well and is durable. And it is a chameleon in that you can make it whatever you want by changing its colour or texture or hardware. You can even move it easily as we designed it with a removable cornice top. It is an extra detail that you might not often need but it means the piece will last longer.�

The Farlow collection, too, is helpfully flexible as our lives and needs evolve. The three designs mean the storage systems can be used in a multitude of ways, from low (the sideboard), to medium (the cabinet), to high (the dresser, which combines the sideboard and the cabinet). ‘The Farlow is a modern version of the traditional dresser in some ways thanks to its versatility,� says John, ‘with the addition of beautifully curved edges that look to twentieth century design, ultimately creating a timeless piece of furniture.�

Ìý

For the fillingÌýÌý

What you'll need:

• 160g ricottaÌýÌý
• 1 egg, lightly beaten, reserve half for egg washÌý
• 30g Parmesan, gratedÌý
• A good pinch of flaky sea saltÌýÌý
• 1 lemon, zested, plus 1â€�2 tsp of the juiceÌý
• 1 garlic clove, gratedÌý
• A generous pinch of freshly chopped thymeÌýÌý
• 5 anchovies, finely choppedÌýÌý
• Black pepper, to tasteÌý

For the courgettesÌýÌý

What you'll need:

• 400g of mixed heritage courgettes (different shapes and colours make for a more interesting finish)ÌýÌý
• A generous pinch of flaky sea saltÌý
• A splash of olive oilÌýÌý

For the tart baseÌýÌý

What you'll need:Ìý

• 250g flaky pastry (see recipe below) or ready-made puff pastryÌý

What to doÌý

1. In a bowl, combine the ricotta with half of the egg. Stir in the Parmesan, sea salt, lemon zest and juice, garlic, thyme and anchovies, and season with black pepper.

2. Thinly slice the courgettes (into approximately half-centimetre rounds). Toss these with the salt and place them in a colander to drain for thirty minutes. After draining, gently press out excess moisture and toss the rounds with olive oil.

3. Set your oven to 220°C (200°C for fan ovens) and let it preheat.

4. Roll the dough into a rectangle or circular (depending on preference), aiming for the thickness of a £1 coin. On the dough, spread the ricotta mixture evenly, stopping about 3.5cm from the edge. Layer the courgettes on top then drizzle with a bit of olive oil. Fold the edges of the dough over the filling to create a crust and brush the folded edge with the remaining egg.

5. ÌýLower the oven temperature to 200°C (180°C for fan ovens). Place the tart in the oven and bake for forty–fifty minutes until it turns golden brown. Ensure the base is completely cooked by lifting it slightly to check. If the top browns too quickly, cover it with foil.

6. 6. Allow the galette to cool slightly, then serve with some nice seasonal leaves and fresh herbs. To reheat, place the galette in a preheated oven at 180°C (160°C for fan ovens) for about ten–fifteen

Flaky pastry recipeÌý

What you'll need:Ìý

• 320g strong white flourÌý
• 250g unsalted butter (cold, cut into small cubes)Ìý
• 80ml ice-cold waterÌý
• 6g saltÌý

What to do:

1. Place the flour, butter, and water individually in the freezer for about ten–fifteen minutes to get them very cold.
2. That done, mix the flour and salt together in a large bowl. Add the cold butter cubes and, using your hands, squash them into the flour until the mixture resembles coarse crumbs â€� you still want to be able to see chunks of butter through the mix.Ìý
3. Gradually add the ice-cold water, mixing gently with a fork until the dough starts to come together. Don’t overwork the dough to keep it flaky.
4. Gather the dough into a ball and roll it into a forty-centimetre-long rectangle (or as close as you can get to a rectangle). Perform a double fold by folding both edges into the middle and then folding it over itself again. Rest the dough for thirty minutes in the fridge and repeat the process. The pastry will keep well-wrapped in the fridge for up to a week.

Elsie de Wolfe, reputedly the inventor of interior design, once declared, ‘I am going to make everything around me beautiful � that will be my life�. This included clothes. The notion of beautifying every aspect of life is not new.

Then there was Coco Chanel, that great streamliner of twentieth-century womenswear, who set out a blueprint for chic, simple, luxurious clothes, but also rooms, with taupe, cream and black interiors speckled with comfy, luxurious textiles. Or Ralph Lauren who, when he launched his first homeware collection in 1983, sixteen years after his first ready to wear, instantly made ‘dressing� your home the way you liked to dress yourself more straightforward. Other designers followed. In 2019, the London-based Erdem (a favourite of the Princess of Wales) launched blankets, ceramics and candles that reflect the chintzy, ‘English-stately� aesthetic of his clothes. By 2020, when London Fashion Week star Roksanda dabbled in interiors for a development in Kings Cross and even staged a presentation in one, where the blush pink (which became a hugely popular interior colour), yellow and burgundy decor mirrored her collection, most of us had got the memo about the interconnectivity of everything that surrounds us.

Now, courtesy of Instagram, ·É±ð’v±ð become as familiar with the concept of accessorising our homes as our outfits. Throws,Ìýcushions and rugs have never been more of a style statement (the most popular press gifts at the fashion and jewellery presentations recently were Dior’s toile de jouy blankets). During lockdown, ‘cottage-coreâ€� sprigged prints and ruffled dresses and blouses sparked a contagion of delightfully pretty tablescaping with horticulture-inspired napkins, china and pleated lampshades (and yes, some influencers dressed to match their dinner plates). Floral outfits have seen a concomitant surge in the popularity of house plants; green is now everywhere in our wardrobes and our living spaces. 2023’s catwalk infatuation with stealth wealth (think soothing shades of head-to-toe milk and caramel) has also seen a renewed interest at home in the restful versatility of cappuccino.

Talking of reassuring, in 2024, the comfort and gracefulness of Edwardian style (an era described as a golden age of interiors and architecture) is in full swing on the catwalks and our screens. Thank you Peaky Blinders and Guy Richie’s The Gentlemen, where, in the latter, modern day characters wear updates of tweedy, early twentieth-century tailoring. The now-collectible Vampire’s Wife’s piecrust necklines and fluted sleeves, the nipped-in waists and tailored jackets at Dior, Erdem and McQueen, and Miu Miu’s ruched bags can all be traced back a century. When small British fashion label The Fold launched a silk dress printed with an original Arts and Crafts Liberty print design last June, it sold out instantly. The catwalk’s maxi hemlines and blazers for winter 2024 play on the period’s proportions too. At Chanel, Celine and Maison Michel, boaters are back. Meanwhile, Tate Britain’s recent , with its woozy, glamorous gaze on turn-of-the-nineteenth-century glamour, delighted crowds. Sargent’s sumptuous velvets and jewelled accent colours are already finding their way into our interiors.

Ultimately, perhaps, this is not about adopting a one season fad from social media, and more about the slow accretion of beloved layers â€� the subtle ruffled edging on Neptune’s new Sennen tableware that echoes the frills of Victorian and Edwardian silk blouses, and our rekindled love for kilims, needlepoint cushions, wood panelled walls and items that »å´Ç²Ô’t feel perfectly finished or mass produced: a gradual gathering of objects we truly love. As Sister Parish, that master of old-meets-new-meets glamorous interiors, said decades ago, ‘I never followed trends. …rooms should be timeless and very personal'.Ìý

Ìý

Glassware styling tips

Glassware adds a decorative element to a tablescape, too.
Here are our top tips for styling your collection.

No.1

Position your glasses where the light (or candlelight) will catch them for extra sparkle (a preparatory wipe with a microfibre cloth will remove any cloudy spots or fingerpritns)

No.2

Mix and match styles - old and new, clear with coloured, and tall with short - for an eclectic look that feels more informal.

No.3

When not in use, group a collecttion of sparkling glassware on a smart tray on a sideboard for a curates display that retains a relaxed look.