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.������

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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,�� says Sophie Miller, Neptune product developer.����

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 ���DZ����𳦳پ��Dz�.������

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We spend a third of our life in bed, and������’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 ����’s sourced. We also use our own home-grown hemp, as well as sourcing from a co-op of other local farmers,�� 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. ����’s why we grow natural comfort filings on our farm, weave our fabrics in-house and make our own award-winning springs.������

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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: ��They are then generously layered with our own-design springs to provide the ultimate in comfort and support.’����

And ����’s this attention to craftsmanship that aligns Neptune and Harrison Spinks so well. Rebecca explains, ��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.�� �ճ󲹳�’s the answer to sleeping well.����

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Explore our mattress collection in-store or online.

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.����

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. �±�’v�� just added the Harmondsworth dining table �� which can seat up to ten people �� 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 �ٳ���’r�� open all the time during the summer.��

��’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 ����’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.������

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. ����’s just so romantic.����

For interiors I always ask ‘how do I want this room to feel?��. 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 ����’s the same for garden spaces. I knew that even though ����’s a city terrace garden, I wanted it to feel green and luscious. It had to still be functional as ����’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 ��DZ����’t feel like a costly mistake if something goes wrong.��

I use my garden as a form of therapy for sure, ��’m just completely in the zone and can pass a whole afternoon pottering. ����’s a place to decompress and detach from the other responsibilities in my life, everything becomes calm and quiet. ��’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.����

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 ����’s beautiful and green outside. The white flowers emit an incredible smell, like a hug of fragrance. �ճ���’r�� perfect for a small urban garden. ��’d also suggest planting herbs in pots; you ��Dz�’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 �ٳ���’v�� 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 ().����

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 �� ����’s a place of happy tears and cheers and proves that gardening is as much about people as plants.��
This kind of collaborative magic ��DZ����’t happen overnight. ����’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. ����’s not just about the clinking of champagne glasses �� 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. ����’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. ����’s an honour to be one of the volunteer garden judges �� 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 gardens��are designed around are highly important, especially if they are relaying an environmental or charitable message.��
Show garden judging takes place over two days and involves sixteen judges�� and two moderators. The public can also vote for the ‘People’s Choice Award�� 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.

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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 ����’s a thing of beauty as well as a high functioning piece of design,�� 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,�� 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.��

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,�� says Mike. ��We have a good idea of how we would like the product to be made, however, we ��Dz�’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.��

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.��

����’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,�� says Lizzie Orstrom, fragrance writer and founder of . ‘I really believe that even if ����’s totally unconscious, we are constantly navigating and assessing places and ourselves based on this response to scent.��

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,�� adds Lizzie.��

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 grandparen��’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.

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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.

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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 Meadow��

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.

The classic care package��

The gifts you include ��Dz�’t need to be large or expensive. Here, ����’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 ��our bath & body collection), a candle,�� a soothing herbal tea (or their favourite blend) and a wellness journal like��. If you wanted to make it a bigger present, you could also pop in a ��wool blanket�� 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.��

The fireside set��

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 ����’s one that’ll instantly bring to mind good memories of cosy evenings and campfire gatherings.��

Begin with a basket that they can use for kindling but which, for now, will hold the rest of the gifts. Our small��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 ����’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 ��Dz�’t forget the marshmallows if toasting around the open fire bowl!��

The hot chocolate kit��

This one’s the perfect gift for a family (whether the children are young or old) because ����’s something everyone can enjoy, and is especially good if you ��Dz�’t know all the recipients well because t������’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.��

To your mug or set of mugs ��(choose generously-sized ones like our ��large Bowsley���ǰ���Molland cappuccino designs), ��add a clip-top jar or paper bag filled with a homemade hot chocolate mix –�� 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�ǰ���). Finish off with marshmallows and, for all-out festivity, red and white-striped candy canes that can be used as stirrers.��

The foodie parcel��

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.��

We’ll start this one either with our long ��Borough chopping board��(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 tha��’s well-thumbed in your house (stuck for ideas? Our personal recommendations would be�� a�Ի���, while serious foodies will also enjoy�� �ǰ���. 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 �� 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.��

This is another elevated gift idea you could adapt to suit your recipient, switching from cook to baker. For this alternative,��begin with our��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).��

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

With a job that entails a lot of time looking at wonderful British homes, I’ve noticed that, as �ٳ���’v�� become increasingly decorated, t������’s been a desire to extend the way we curate our living spaces to bring personality and comfort to our bathrooms. T������’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, t������’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

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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 ‘ground�� pieces of furniture ‘so that they ��Dz�’t appear to float around a big floor space��. ‘Rugs are particularly effective in a larger or multi-use space to “zone�� specific areas,�� she adds. ‘For example, in a kitchen-diner, a rug under the dining table can define that space.��

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

��Meet the new season rug solutions��

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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.

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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, ����’s the way a space smells that truly conjures up a sense of familiarity, warmth and comfort. The best rooms beckon most �� if not all �� 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 ����’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 �� 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

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This autumn, �ɱ�’v�� 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, ����’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).

Today, t������’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, ����’s only with time that these qualities form. In fact, when the material is first quarried, ����’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.

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,��mustard, 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 tha��’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 cent��

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,�� 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, �ɱ�’v�� just built on the core.��

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 ��Dz�’t have the required longevity. ‘They are not resilient enough for long lasting jointing techniques,�� 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.��

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.��

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, �ɱ�’v�� become as familiar with the concept of accessorising our homes as our outfits. Throws,��cushions 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-core�� 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. Sargen��’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 �� 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 ��Dz�’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'.��

No. 1
A one-hundred-year mindset

We believe your kitchen should be with you for the long haul. ����’s why we design furniture to last for a hundred years and more. The timeless styles, quality materials and classic joinery of our kitchens take an enduring approach that stands firm against fleeting trends and champions anti-waste and anti-throwaway culture.

No. 2��
Lifetime guarantee

�첩�������� should be able to withstand everyday family life and still give you a lifetime of use. ����’s why, when fitted by our accredited installers, our kitchens come with a lifetime guarantee: a promise to continue to care for and maintain your kitchen’s cabinetry, handles, hinges and more, so you can continue to enjoy them.

No. 3��
Paints, with conscience

While you may have pondered the colour of your kitchen paint, you might not have ever considered its formula. Made in Britain by our partner with five generations of expertise, Neptune paint is waterbased, low in VOCs (volatile organic compounds) and practically odour free. This means ����’s a good option for your home, the environment and your health. With our kitchens built to last a lifetime, the painted cabinetry can also be touched up over the years, giving it a new lease of life.

No. 4
Smart solutions

����’s often the clever details in a kitchen �� like fold-out drying racks or built-in bins for recycling, general waste and food �� that you might not have thought about, but that will help you lead a more eco-conscious lifestyle. We offer three types of bin cabinetry, which can be used individually in smaller spaces or mixed together, and then discreetly hidden behind a run of beautiful cabinetry.��

No. 5
Material matters

No. 6
Traditional craftsmanship

The beauty in a more sustainable kitchen should go far beyond the exterior. Open the doors of our cabinets and you’ll find precise mortise-and-tenon joints; pull out a drawer and you’ll see that ����’s secured with classic dovetails. Everything we do is rooted in traditional cabinet-making principles that have proven their strength and endurance over centuries �� and look beautiful, too.

No.7
Planting for our planet

No. 8
The flexibility of freestanding

The most sustainable kitchen designs should evolve to reflect your needs. Each Neptune cabinet is crafted as an individual piece of solid wood furniture, meaning the footprint of your kitchen can be completely reimagined as your family changes and living spaces adapt. Cabinets can be moved from room to room (or even to a different house altogether), just as our co-founder John Sims-Hilditch has done with his original, twenty-five-year-old Chichester kitchen.

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Book your first kitchen consultation.

Think for a moment about your favourite mug, the one you always reach for. Chances are the thing that��draws you to it each time (rather than the host of other mugs sitting in your cupboard) is the way it feels when ����’s cupped in your hands. Its weight. Its �ٲ����پ������ٲ�.��Well, the same thing could be said for the hardware in our kitchens. The handles, the hooks, the rails and the knobs. Afterall, these are the things your hands reach for every day, when you open and close cabinet doors and drawers.����

����’s for this very reason that companies like solid brass hardware producers�� believe the upmost attention should be paid to the design and construction of our kitchen hardware. And ����’s not a new belief of theirs either. The ethos of this uniquely British brand has been passed down through generations for nearly a century. From brass fittings founder Harold McGrail to his great grandsons and now joint CEOs, Richard and Robert McGrail, the company has continued to masterfully manufacture its fine brass products in the heart of Birmingham.

That family approach is something Armac Martin prides itself on; in the factory too, there are parents who are passing on skills to their sons and daughters. ‘We have multiple generations of family members honing their craft here,�� says Richard.����

And while some equipment may have been modernised over the years, the overarching craft process remains much the same. ‘Once we have the raw component, pretty much everything else is going through �󲹲Ի��,��continues�� �龱���󲹰���.��These experienced makers are sticklers for attention to detail and each product is reviewed at every stage of the process. ‘Ensuring the quality is at the level it should be is a commitment �ɱ�’l�� always make,' explains Richard.����

����’s pledges like these that attracted Neptune to working with Armac Martin. Our new collaboration reflects the synergy between the two British brands and has culminated in the release of our��Oscott collection: a��solid brass contemporary take on a classic bar handle with traditional ball joints. And while��Oscott was ultimately a design-led partnership, because of the brass’s pure weight and tactile nature, it feels good in the hands, too. ����

What sparked your passion for gardening and what does gardening mean to you?��

I come from a family of garden enthusiasts �� perhaps it's in my blood! I was surrounded by beautiful gardens growing up in America and my grandfather had the most sensational English-style garden. After moving to the UK and spending many wonderful years working in interior design, I realised that as my family grew, I wanted to work for myself and spend more time outside.��

Gardening is so rewarding. The excitement you feel when something that you've planted from seed grows millimetre by millimetre each day gives me such joy. I am a great observer of the garden because I think that is the key to a healthy, productive one �� just keeping a beady eye on things really does help. It's a great tonic for me to tend to the garden, mow the lawn and observe the uncontrolled chaos that is the wildflower meadow. ����’s good for me to just let it be and relinquish a bit of control.

Tell us about your garden.

In my wildflower meadow, the thing I enjoy most is the coming and goings of flowers. It starts with pink campions and then white daisies, followed by a splattering of buttercups �� these wonderful un-spoilt, humble flowers which I encourage to grow and spread. A wildflower meadow is relatively easy to create as it requires very low-quality soil and sunshine for most of the day. With my clients I always try to encourage them to set aside some lawn space for a wildflower meadow. ��’m all about planting for pollinators, using nectar rich perennials and grasses to provide bees, butterflies and insects with food throughout the year.����

On my terrace I have an assortment of pots, each planted slightly differently but they all have one plant that runs through them. I have a pyramid of sweet peas and salvias in one. And, in the other two pots, I've got salvias in different colours and Alchemilla Mollis and Nepeta (Catnip). The terrace is also where I have a spot under the Magnolia with a pair of benches and some very plump cushions, making it a lovely shady place to retreat to on a warm afternoon. Comfortable seating is essential for fully enjoying your garden which, of course, Neptune does beautifully. The Harrington chairs, with their plush seat cushions, are great for relaxing in and the woven wicker design feels harmonious with the garden.��

And what plants do you use in the garden alongside your blooming wildflower meadow?

One plant that I find irresistible is Alchemilla Mollis (Lady’s Mantle). Its velvety green leaves hold the edge of flower beds together and creates a great contrast amongst soil and colourful flowers. Along my borders on opposite sides of the meadow I have clipped, two metre tall, Yew pyramids at regular intervals. These create a lovely structure, allowing the chaos to happen around them, and this repetition really does make a difference to the design.��

��How does your garden influence your interior design?

I love to create visual stimuli from all angles, both inside and out. My house is not to everyone's taste, as it is maximalist and there is a lot of stuff on absolutely every surface. I find the rich layering of pattern in fabric, colour and texture really makes me happy. Both inside and outside there's a limited amount of workspace! No dining space, no coffee table space. I often have to shift things around just to make room for a cup of tea.��

You have a very vibrant home, which feels like a reflection of your garden, how do you use colour indoors?

For decorating inside, I think it's as simple as choosing a colour that you really adore and then being bold with it. A house should have an overriding colour theme throughout. For mine, I have black and white everywhere. In the drawing room there are zebra rugs, some black furniture and a black and white ticking sofa. In the hallway I have great checkerboard tiles which run into the kitchen and conservatory (and in different configurations in the bathroom too!), plus a black and white stripe stair runner. It's all tempered with lots of green accents that are peppered throughout the house.��

If you’re worried about colour, start small. For instance, in my drawing room I started by painting the inside of my bookshelves orange to break up the grey. Then, as my confidence grew and taste matured I re-covered two chairs in orange �� one in a divine mohair velvet and another in a bold patterned linen fabric. I love to grow and pick orange tulips to place throughout the house at Easter and throughout the spring. There's always a little bit of room for a bit of pink about the place too, such as my collection of pink Lustreware on shelves and sideboards, and a little flash of yellow that just brings everything alive and feels very welcoming.��

What does a weekend at home look like to you?

��’m an early riser, so first thing in the morning I wander around the garden in my dressing gown with a mug of coffee, observing the plants and picking flowers for the house. I love the tradition of gathering and arranging a mix of flowers to bring joy and the outside in. ��’l�� then take my dog, Wafer, for a walk along the river Thames observing the views across the horizon, which is an act I find deeply calming. Plus, t������’s always something interesting going on there �� the lasers being sailed or people rowing. It's a highway of activity and a real joy.����

If I have time, ��’l�� pop to . It's a great source of inspiration and gives me a sense of peace. You can find a very quiet, unbeaten path that offers moments of privacy and reflection. And then after that ����’s an afternoon in the garden, a lot of my time is spent actually tending it, mowing the lawn, deadheading, planting, pricking out, all those simple mindful things.��

What's the one most important piece of advice you would give to garden novices?

Understand how the light travels across the garden. See where the morning and afternoon sun falls, and where shade is needed during the summer months. Light and aspect are some of the first things that need to be considered.����

If you’re a morning person and you like to sit in the sunshine with a coffee, make sure you've got a little area for a bistro table or sofa, like Neptune’s classic Cheltenham collection, in that pocket of morning sunshine so you can truly enjoy those moments. Or, if you prefer entertaining in the evening, make sure that your terrace captures the last rays of evening light.��

Butter Wakefield's top gardening tips��

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Don't make any hasty decisions. Watch the garden for a year and see what is in there, what you like the look of and what you don't. Make notes ready for planting.��

Assess what hard landscaping is needed, choosing materials that complement decor and architecture inside and outside of the house, and what seating areas are required. Consider enhancing your privacy with trellis and trees. Then work your way down to ground level with the different layers of climbers, shrubs, perennials and grasses.����

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I suggest using one plant a lot. I think rhythm and repetition really helps to create a beautiful design, and it helps the eye travel from one little moment to the next. For instance I have Hydrangea Annabelle down both sides of my borders and they work equally well in shade and sun.��

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Every garden needs at least one tree, even if it's in a pot. It creates shade in the summer months and privacy all year.������

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During the summer months ����’s all about maintaining the garden with watering when required and deadheading. Also, take time to watch wha��’s progressing and make notes on gaps too.����

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In autumn, move anything that needs to be relocated and prune plants that have outgrown their space, but really try to leave us much standing and undisturbed as possible for wildlife to shelter in over winter. Where you’ve identified gaps, you can also order your bulbs and plan where you’ll be planting.��

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Feeling inspired by Butter Wakefield's blossoming garden? From outdoor garden sets to wicker planters,��shop the edit to get the look. Follow if you're looking for more inspiration on how to create a vibrant garden or home.

Small but mighty

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The beauty of a more compact space is its ability to work efficiently and have everything needed within arm’s reach. Less time is spent rummaging through drawers and cupboards because everything is (hopefully) organised with precision and space in mind. If you’re after the illusion of a larger room, the key is to utilise vertical spaces and scale upwards. ‘Using the walls efficiently and effectively and adding a ladder rail to reach high cabinetry can look very dramatic,�� explains Jackie, kitchen designer at Neptune Edgbaston. If ceiling height is restricted though, avoid the space feeling boxed in with wall cabinetry by opting for open shelves that can still be used as storage for glass jars filled with ingredients that you regularly reach for.

In small spaces, it can be worth embracing strong colour. ‘Using a darker tone all over can make a room really cocooning,�� says Jackie. If you want to go for bolder colours on cabinetry, Claire, a Neptune Bath kitchen designer, recommends ‘keeping work surfaces and flooring lighter, as they will bounce the light upwards.�� Other considerations such as integrated microwaves and boiling water taps help to reduce the amount of worktop space used. And finally, remember that space saved equals more opportunity for displaying personal touches that will give your room a sense of individuality.

The in-between

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Curious configurations and clever storage can help add interest to medium-sized kitchens. These ‘fall-between�� sized spaces will benefit from tall larder cabinetry and deep drawer storage (which often conceals further drawers within) like those found in our Henley collection. These configurations create a streamlined look in a busy room while still maximising storage space. Similarly, an integrated bin drawer installed close to food-prep areas, below-counter slimline chopping block units, and a dedicated breakfast larder which holds the coffee machine, kettle and toaster all reduce the number of excess items on display. If you’re keen to include a dining area within a medium-sized kitchen but are wary of eating into precious floor space, Claire suggests continuing the flow of worktops or an island to finish with a wrap-around bar seating area with under-counter space for stools. By maintaining the flow of cabinetry and work surfaces into an eating area, you continue the unfussy design while gaining additional, sought-after space.

A large welcome

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Space to play with? Many larger kitchens work with open-plan living in mind, combining a dining area and maybe a relaxed snug too. When contemplating the layout and flow of a larger room, your kitchen designer can help you consider what Jackie calls ‘traffic management�� �� ensuring an easy route to the fridge, for example, to avoid having to cross someone else working in the prep area. For large kitchens to work best, they need zoning with layered lighting, pattern and texture to create pockets of interest. Overhead spots and task lights, pendants above islands, and floor and table lamps in dining spaces help to define different zones and create appropriate atmospheres for cooking or entertaining. Upholstered bar stools, Roman blinds, and patterned rugs under dining tables add textural points of interest. You might even consider zoning the floor �� with a hardy herringbone tile or chequered stone around the prep areas, for instance, and warmer wood flooring for the relaxation areas. Finally, when furnishing a larger space, ����’s important to consider proportion and scale. Avoid filling every wall with cabinetry as it will feel like living in a wooden box. Instead, mix open and closed shelving and leave space for artworks, plants or bookshelves. When it comes to styling, encompass the room’s sense of generosity with tall vases or urns on a worktop, super-sized fruit bowls, and displayed items shown in multiples. Combining these elements of scale, zones and storage will help the large kitchen look impressive but still feel welcoming. In other words, your kitchen will be ‘just right��.

To get started on your kitchen project book a free design consultation here.��

Tell us a little about your house and what drew you to it?��

Our house is in a wonderful little pocket of East London, surrounded by gorgeous old Georgian buildings. What sold it to us was its natural light. When we moved in, we just sat with it for a while to observe where the light moves through the day and the seasons. The kitchen was originally on the lower level, but we always knew we wanted to bring that up to the ground floor to make the most of the natural light for cooking and shooting content. My interior style is very calm and minimalist, but still with a homely, welcoming feeling. By using natural textures of marble, wood and various neutral plaster paints throughout the house it feels timeless and is enough of a blank canvas that I can evolve the space over time. I chose marble for the kitchen as ����’s naturally a very cool surface, great for rolling out pastry when baking, but stains easily�� over time from all the chopping of tomatoes and lemons or just anything acidic. I think that's part of the charm of a lived-in home. ��’m not too precious �� I want family and friends to feel they can relax when �ٳ���’r�� here, not worry about cup rings or spills.����

And how about your garden?������

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We wanted the garden to feel like a calm extension to the house. We inherited this huge olive tree that makes the perfect backdrop to the garden. This also really set the tone for the space alongside an old, gnarly rosebush �� I love it, ����’s totally wild and takes up half of one side of the garden wall. We chose a light tumbled dijon limestone for the patio tiles, influenced by our time spent on holiday in Greece and Italy, and ����’s now a beautiful space that feels like a Mediterranean retreat when the sun shines.��

We live close by to Columbia Road flower market, so �ɱ�’v�� enjoyed weekend trips to discover the variety of plants on offer �� planting my first white peonies, hellebore, jasmine and lavender has been a lesson in patience that’ll (hopefully!) pay off with time. We've also turfed over a section of the garden, and when the weather improves, it’ll be nice for the boys to have a space to play together outside. The twins are also the reason we chose the��Kew coffee table with the relaxed��sofa���� the table is the perfect height to pull up their little chairs and enjoy an afternoon snack together in the sun.

How do you carve out time for yourself at home? What are your little moments of joy?����

As both my husband and I work from home a top priority is having separate workspaces. For me ����’s a space where I can tuck myself away for a little while and then, at the end of the day, close my work off from home life. Eating dinner together has always been a ritual for us and ��’m grateful to share this simple pleasure with the boys now, too. When I get the chance, I cherish a morning coffee out in the garden. T������’s this little patch that catches the sun first thing, so I often take a chair over to that corner and enjoy a real moment of peace. I'm always dreaming of having a quiet, lazy day in the garden with the papers �� I just ��Dz�’t know if that will ever happen!��������

Your love of food has always been a constant, what does it mean to you?��

Food is such a leveler. I love to bring people together �� it was one of my favourite things about hosting supper clubs. I find talking to people about their love of food, their life and creativity on the podcast evokes such an exciting and infectious conversation. It creates a whole community. On Friday nights �ɱ�’l�� often get together with friends at each other’s houses, find new recipes and have a little cook up. ����’s very relaxed and I ��Dz�’t feel that I have to dress up the table specifically. I��’s more casual and we share and graze throughout the evening. ��’m thinking of adding a pizza oven to the garden for hosting pizza parties as my little worktop pizza oven has definitely been over-worked. My birthday is in the summer, so now we have the garden sorted ��’l�� definitely throw a party and invite family and friends to celebrate.����

And has your approach to food changed? Is there a topic you notice come up a lot in your conversations?����

These days there's such an emphasis on the quality of produce. If you've got gorgeous, juicy tomatoes and a lovely focaccia, or you've baked a sourdough and you're sharing that with a French salted butter or Italian olive oil, I think all of those things show an appreciation for the simple pleasures in life and ����’s always special to share these. It's all about abundance, simplicity and quality. I enjoy making really vibrant Mediterranean cuisine �� cooking fish on the BBQ, mixing paellas in a huge paella dish directly over coals, letting it sit and simmer. When you use incredible produce, you can really make such tasty salads too. All using very simple recipes. I grow my own herbs for cooking and ��’d love to try growing my own veggies, but I guess ����’s just something else to look after at the moment, so it will be on the back burner until �ɱ�’v�� really nailed keeping the twins alive! For now, ��’l�� stick to herbs.����

�³󲹳�’s your hero ingredient that you reach for with every meal?����

Sumac I put in everything. Also, I've got dried bunches of oregano which I feel is an underrated dried herb, as soon as you rub it in your hands it releases the most fragrant oils. ����’s amazing with fresh ripe tomatoes and a drizzle of extra virgin olive oil. Delicious. My husband is obsessed with tahini, so that goes on everything. Oh and I've always got a big jar of preserved lemons because that is a great way to add flavour or create a really delicious dressing.����

Time for a little this or that!

Espresso or Latte?����

Brunch or lunch?

Wine or cocktail?

Fiction or non-fiction?

Party host or party guest?

Planting or pruning?��

Stargazing or sunbathing?��

Trifle or Strawberry Pavlova?����

Hurricane lanterns or fairy lights?��

Winter sunrise or summer sunset?��

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In between the duties of domestic life, family life and work life, I regularly carve out a small pocket of time for a mini adventure. ��’m fortunate enough to have discovered some delicious moments of calm in the hurly burly of being a responsible grown-up, for cold water swimming has been my midlife saviour. At least twice a week, I swim outdoors in lakes, unheated lidos or the sea. I swim throughout the year, come rain or shine, and usually without a wetsuit. Well I say swim, when the water drops below ten degrees, ����’s more a quick dip. I discovered wild swimming when I took part in a mini-triathlon five years ago aged 47. I had to swim 800 metres in a wetsuit in a lake in May. I learnt front crawl to take part and, during the training, I fell in love with ‘skins swimming�� (no wetsuit). Now ��’m addicted to cold water immersion and the camaraderie of the supportive community around it.

What other sport can you do where everyone is keeping an eye out for you, checking you’re OK rather than asking about lap times or lengths? Where you can be any shape or size to take part and can keep doing it well into old age? ��’m not a technically gifted swimmer, slow compared to most, but that ��DZ����’t matter, you ��Dz�’t even have to put your face in the water to reap the rewards of this hobby. I just love the way my whole body tingles and fizzes after a cold dip, the way I
feel so alive and relentlessly well for days afterwards. And it helped enormously with the insomnia I experienced when I went through the peri-menopause. Indeed, the mental and physical health benefits have been much documented. The shock of entering cold water puts your body into fight or flight mode, and the more you do it, the more it learns to deal with the stress of that, reducing inflammation and promoting a stronger immune system.

People who suffer from depression and anxiety report that it aids recovery, and indeed, I have met many outdoor swimmers who attribute their salvation to the restorative powers of cold water. For me, ����’s like meditation, and when I have faced challenges, either at work or parenting my four children, I often swim my fears and worries away. ‘Take it to lake,�� is what they say. And the confidence I have learnt from knowing how to moderate my breath in the icy temperatures is something I rely on during stressful times out of the water. Now a new study currently being carried out by at the lido where I regularly swim in North London shows it could help delay the onset of dementia. ����’s an activity that combines all the ingredients we know are necessary for health and happiness: friendship, nature and gentle, regular exercise.

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You need to start slowly though, because your body temperature continues to drop after you’ve left the water and that can be dangerous. I always advise beginning with a few cold showers for a week then dipping into the water for just minutes at a time, but never alone. It takes a while to build up tolerance and everyone’s limits are different. magazine website is the font of all knowledge on safety, and you must research swim spots with care. ��’m not going to lie, the first few moments are unbearable, but ��’m always as reluctant to get out as I am to go in. And wild swimming has gifted me some of my life’s most amazing and treasured memories. Three years ago, my swim friends and I tackled the 70km Lake Geneva in a relay. It took us 30 hours non-stop. So nowadays, whenever I lack confidence or feel a little low, I remember that cool morning when I swam in the shadow of the Alps as the sun rose above me.

Lorraine Candy’s book �³󲹳�’s Wrong with You?: 101 Things Only Mothers of Girls Know: How to Survive the Tweens to the Twenties is available��on and now.

For who hasn’t marvelled at the sky as they gaze out to sea, the wide horizon a perfect vista to view the ever-changing cloud patterns and anticipate what weather they might bring. Clouds are classified in three groups: cumulus (large and lumpy shapes), stratus (layers that blanket the sky) and cirrus (wispy clouds found at high altitudes). But how to identify what you’re looking at? Here are the ten most common cloud formations to spot.

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1. Cumulus: puffy, bright white with flat bottoms in a blue sky, much like a child might draw.
   
   

2. Stratus: hang low in the sky and look flat and featureless; often seen on overcast days.
   
   

3. Stratocumulus: puffy, white and grey clouds with smaller patches of blue sky between them �� the epitome of a cloudy day.
   
   

4. Altocumulus: nicknamed ‘sheep backs��, they look like mounds of sheep’s wool, sit higher in the sky than cumulus, and are larger than stratocumulus.
   
   

5. Nimbostratus: a dark grey layer of cloud that can blot out the sun �� these are classic rain clouds.
   
   

6. Altostratus: a thin layer of grey or blue-grey cloud that dims the sun and stops the sunlight casting shadows.
   
   

7. Cirrus: wispy strands of cloud streaked across the sky at a higher altitude. Sailors regard them as a warning of a coming storm.
   
   

8. Cirrocumulus: short-lived patches of high cloud that appear spread across the sky in bumpy rows.
   
   

9. Cirrostratus: a barely-there veil of cloud covering the entire sky that produces a halo effect around the sun or moon.
   
   

10. Cumulonimbus: dense thunderstorm clouds that rise up from cumulus shapes and span the low, middle and high altitudes, billowing upwards with a darker, flat bottom.

The marvel and mystery of seashells has enchanted humankind since prehistoric times. During the eighteenth and nineteenth centuries, English aristocrats were gripped by shell mania, amassing vast collections of rare and breathtaking specimens. The desire to collect these tiny seashore treasures has run in tandem with the inclination to decorate with shells, and England’s bucolic landscape is scattered with peculiarly elegant grottoes and houses that are little architectural odes to the magnificence of shells.

Though shell mania has long since lulled, �ɱ�’r�� currently in the midst of a shellwork renaissance. ‘There is a huge revival in shelling,�� says the shell artist , pointing to the work of fellow practitioners like and . ‘����’s wonderful to see how many people are experimenting with this free material.��

The artist Tess Morley’s work includes the painstaking, decade-long restoration of the Goodwood Shell House in Sussex �� one of England’s finest and most extraordinary examples of the art of shelling, dating to the 1740s. Alongside restoration, Morley crafts everything from intricate sailors�� valentines to humble salt cellars to shell grotesques with her uniquely baroque-style ornamentation. Meanwhile, the oceanic creations of Katherine Lloyd �� who works from her garden studio in Wimbledon �� are defined by their crisp, modern simplicity. A case in point: the pleasing, almost watery flow of the Shell Bar she conceived for the private members�� club 5 Hertford Street.

T������’s a similar sense of dynamism in the work of Blott, who is currently creating a series of brand-new shell houses for clients everywhere from the West Country to the Channel Islands, alongside more sculptural works of art and shell embellished decorative objects. Unlike the follies of the past, today’s shell structures are conceived as functional outdoor rooms such as dining spaces and airy summer houses. At in Bradford-on-Avon, for instance, Blott transformed an oriental garden outhouse into a charming pebble-and-shell adorned grotto. ‘�ճ���’r�� no longer dank and dusty spaces,�� she says.

Now sixty, Blot��’s life in shells started in the early 1990s when she decked every last inch of the bathroom in her Peckham flat with shells, a space immortalised by The World of Interiors magazine. ‘From that moment on, I became “the shell lady��,�� she says. ‘Shells are the way I express myself.�� Her first commission, completed in 1995, was the majestic interior of The Shell House at Ballymaloe Cookery School in southern Ireland.

It takes close to three months for Blott to complete the interior of a single shell house. ‘I can look back at a design and see the tension and relaxation that I was feeling at the time in the placement and pattern,�� she explains of the emotive creative process. Taking cues from the clien��’s own interior tastes, the peccadilloes of the architecture, and the movement of light in a space, Blott works freehand to conceive dynamic custom arrangements. ‘I never plan or sketch things out,�� she says. ‘I just always assume that ��’l�� have the right number of shells and it will work out. My mind works in patterns.�� Her designs are nothing short of extraordinary: at once playful, experimental, and brilliantly eccentric �� the very definition of what she terms ‘modern shelling��. When it comes to creating your own artwork, she suggests staying mindful of the shape of the shell �� ����’s this unique silhouette that will bring movement and dynamism to the design.

Perhaps best of all is the democratic nature of the craft. For those hoping to try their hand, Blott advises only employing shells that are found in abundance as some are protected or restricted. Equally, utilising shells that are a by-product of the food industry is a good way to source them in quantities. Blot��’s own north Norfolk studio is filled with glass jars brimming with hundreds of different varieties of shell, many of which she has been given.

Shellwork is also a chance to celebrate the often-overlooked wellspring of shells found on local beaches. ‘At first sight, British shells can look boring,�� she says. ‘But when you put them together, they have such beauty and colour. British mussels, for example, are the only blue shells in existence.�� So next time you’re on a coastal stroll, take a moment to look again at the beauty beneath your feet.

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Much like our commitment to make furniture that will last 100 years and give pleasure to generations of families, so today’s tree experts are campaigning for forests to be planted with a long-term strategy (rather than focusing on headline-worthy sapling numbers), so that woodlands can flourish for centuries to come. Leading the charge is the woodland creation charity (SUFT), based in South Wales. Neptune is partnering with SUFT to support their ecological restoration work in the Bannau Brycheiniog (Brecon Beacons) and surrounding area.����

SUFT General Manager, Dr Jenny Knight, explains the thinking behind the charity: ‘We have a long-term approach to woodland creation; ����’s not just about what �ɱ�’r�� putting in the ground, but how ����’s going to develop. A birch might live for 100 years, but an oak could live for 900 years, so planting a mix of species makes for a complex and rich natural habitat.�� One such project currently underway involves planting a mix of birch, hawthorn, and oak. Thanks to their different growth rates, the birch will shoot up rapidly, creating shady protection for the hawthorn and oak in their early years. The hawthorn will branch out as the birch trees decline, and when the hawthorn finally fades the oak will still be in its glorious prime.��

����’s a concept that resonates with all we stand for at Neptune �� looking to nature to create an environment that will be dependable and enjoyable now and for future generations. Like all good ideas, Stump Up For Trees began as a passion project for two neighbours �� farmer Keith Powell and writer Rob Penn. ‘Keith had planted all the trees he could on his farm,�� explains Jenny, ‘but part of his grazing land was common ground and he ���dzܱ����’t understand why he ���dzܱ����’t plant there too. It was with the help of Rob that he persuaded the other farmers and local authorities to allow planting on the common.�� 64 acres were eventually transformed, and Keith and Rob realised the lessons �ٳ���’d learnt could help other landowners reimagine their acreage. And so, Stump Up For Trees was born.

Today, the charity has over 250 active volunteers and plants about 27 native species, including rowan, hazel, and even rare Wych elm. While the charity’s approach is holistic �� with a focus on surveying, designing, and nurturing projects that suit the local ecology �� they have still planted 235,000 trees in just three years. As prime tree-planting season approaches, upcoming projects include multiple small woodlands and shelterbelts on unproductive farmland, a diverse 40-hectare site, working with the to rejuvenate old hedgerows and plant new ones, and exploring the role of trees in flood management in South Wales.

For Neptune’s CEO, Aalish Yorke-Long, the partnership with Stump Up For Trees is a natural union. ‘At Neptune, �ɱ�’r�� committed to making furniture which will last for 100 years and more. And as British designers who appreciate the beauty of working with timbers such as oak and birch, we want to support a charity with a similar ethos to us. The first step in this exciting partnership is a donation initiative, but going forward the Neptune team will be rolling their sleeves up and getting involved in as many ways as we can.����

Neptune’s pledge��

To support the remarkable work done by Stump Up For Trees, Neptune will plant a tree with SUFT for every tree �ɱ�’v�� used to make furniture this year.������

Furthermore, customers can opt to add a £3 donation to their order which we will then match. Raising £6 per purchase not only funds the planting of a tree, but it also ensures that tree is monitored and maintained by SUFT for 12 years. At 12 years old, a tree reaches establishment and enters a new regulatory framework, which protects it as woodland.

Fellow neutrals: Salt, Silver Birch and Driftwood

For lovers of a neutral scheme, Potter’s Pink offers just the right depth of tone to make a subtle palette more interesting. One of the challenges of a neutral space is that it can feel bland, so it is important to introduce colour and material variations, from paint shades to the tactile textures of natural sheepskin, wool and linen.

The plaster tones of Potter’s Pink introduce a gentle layer of colour without unsettling a scheme’s tonal balance and works well with our classic neutrals such as Salt, a comforting and creamy off-white, the pale grey of Silver Birch, or the timeless putty shade Driftwood which feels both calm and cosy.

Try introducing Potter’s Pink on painted furniture against walls painted in Salt or Silver Birch or bring it into a textured scheme using chalked oak, natural sheepskins, or slubby linen upholstery.

Deep and dark: Walnut and Chestnut; Constable Green and Olive

While Potter’s Pink can be dialled down for a neutral scheme, it comes into its own when contrasted against chocolatey browns where it highlights the tones of a darker palette.

We love pairing it with darker wood furniture or the velvety black-brown Walnut as both shades share an underlying warmth, or the more vibrant Chestnut where the two colours have a common red thread. Similarly, our historic, deep Constable Green, sits comfortably with Potter’s Pink, the two colours sharing a gentle quietness despite their contrasts. While the yellowy undertones of Olive reflect the soft tones within Potter’s Pink to create a scheme with a distinctly contemporary twist.

Apply the colour blocking approach when using Potter’s Pink with darker shades to create a sense of drama in the space or use it as a foil to darker furniture and accessories.

Accent touches: Mustard, Apricot and Rhubarb

Potter’s Pink is strong enough to hold a space on its own, but a scheme will be enhanced by introducing accent shades. Typically, accent colours contrast or complement the primary colour in the room, just be sure to use them sparingly to prevent the room feeling frenetic.

�±�’v�� used yellow-based accent shades of Mustard fabric on the bedside table and Apricot linen on the headboard to create a thoughtful bedroom scheme. Rather than jarring, they add depth and make the space feel ‘finished��. Similarly, you could pair Potter’s Pink with our recent seasonal shade Rhubarb. With its pinky lineage, Rhubarb sits in the same tonal family but brings an earthy warmth to the lightness of Potter’s Pink.

Unexpected couplings: Sage, French Grey, Lead Light, Fermoie fabrics

The versatility of Potter’s Pink means it can also be paired with unexpected shades and patterns to create different moods and effects.

Consider using Potter’s Pink alongside the soothing green-grey of French Grey for a slight vintage feel, or for a stronger contrast, try Potter’s Pink with our soft khaki shade Lead Light where the warmth of the pink will be balanced by the cool earthiness of this green-brown hue. For a charming effect, couple Potter’s Pink with the delicate Sage, a pale soft green that sits on a similar tonal scale and will ensure a room scheme that feels relaxing.

Finally, the subtlety of Potter’s Pink makes it a ready backdrop when introducing layers of pattern to a scheme. Pick out stripes and checks which share a similar tonal story to create a harmonious and cohesive palette. The decorating options for Potter’s Pink are limitless.

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Could there be a better example of a preservation craft than Harris Tweed? First popularised in the 1840s, its roots in fact go much deeper, back to the��Clò-Mòr - 'big cloth' in Gaelic - that has been made by Scottish weavers in their crofts for centuries. Today, it's still handwoven in the same way, solely in the Outer Hebrides, using local materials.��Such is the precious nature of this fabric that it's protected by law, and is subject to strict rules that safeguard its authenticity: genuine Harris Tweeds are marked with an orb stamp. All of this takes time and impressive skill.��

Harris Tweed is a mainstay of Neptune's fabric collection. 'The colours the mill works with are pulled from the landscape, the character of the cloth is produced by purely traditional methods, and each of the designs are unique,' says Neptune's creative director of product and services. 'Adding to the beauty of this cloth, it has longevity and durability to last a lifetime.'

��Even the Cheviot sheep that provide the wool are special: they're known for their dense fleeces, which make Harris Tweed warm, waterproof and breathable. In its virgin state, the wool goes to one of the Hebridean mills to begin its lengthy transformation into fabric, First, it's washed and separated into batches before being dyed. Crucially, dyeing is done before spinning the yarn, which allows many different shades to be blended into one thread; that's what gives Harris Tweed its unique depth of colour. Hints of earth, stone, water and sky flicker across every piece, as if the landscape has been woven through it.

Over 500 or so islanders are involved in tweed craft. Many are employed in the mills, which embrace dozens of specialised skills, from dryers and spinners to cloth finishers and stampers (who give the final seal of quality approval). Mill workers co-exist in a mutual rhythm with weavers who, by law, must work their looms at home. The mill supplies the warp, or vertical threads; the weavers then add the weft that goes across and gives the finished material its rich texture. Weaving expertise takes years to master, with many artisans using the same treadle-powered looms as their ancestors. Each treasured loom has its own quirks, like a musical instrument, and forges a sense of lasting connection to island life.

A renewed appreciation��for handmade, sustainable design means that Harris Tweed is in big demand. Thanks to its localised��manufacturer, it has a low impact on the environment, yet it has enormous value to the islanders, fostering a complex network of skills that sustains��them across the generations.

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��To see - and, importantly, feel - our Harris Tweed textiles for yourself, visit us in store or order a sample online.

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When I think of the happiest moments in my life, it's not the Big Ticket events, the grand parties or holidays. I'm happiest tying on an apron on Sunday morning, anticipating a roast leg of lamb and a table full of loud conversation by lunchtime, or opening the front door on a Friday night and letting a gang of friends tumble into the hall, a mess of laughter and tissue-wrapped bottles of second-best wines from the corner off-license.

With planning parties the thinking, imagining and unfurling are the purest of pleasures, but host, know thy self. It might sound relaxing to delegate- and in these free wheeling, sneakers-or-stilettos, anything-goes times, it most certainly is if you're a laid back type. But I'm a control freak, so the thought of relying on anyone else to make a pudding brings me out in hives. It's easier for me to hold everything by a short rein and make a million lists. This way. I can enjoy my own party because I've done all of the worrying beforehand.

I do set the table in plenty of time, because if it looks beautiful, people are far more forgiving about what goes on it. It doesn't take much to elevate if from the ordinary: a scattering of candles and some flowers or greenery cut from the garden in small glasses spread along the table are as pleasing as more elaborate arrangements and set a relaxed tone, which is truly what we all want.��

I'm very guilty of repeatedly inviting my best beloveds, but I do try and include a few new people each time - it makes everyone perk up. However, relaxed your gathering it's still important to introduce people properly and make it cleat what you expect from your guests. If you're serving and want people to start as they get their food, do tell them; if you want them to help themselves to side dishes, make that clear too. And if you're the guest, start, help yourself, for goodness' sake. With new people or shy people, I like to give them a job such a serving drinks or handing round snacks. It breaks the ice in the gentlest possible way.

My idea of hell is a dinner where every component is a recipe, comprising elaborate method and ingredients, which means the host is weeping into the split sauce while everyone pretends everything is fine as they cling onto their gin and tonics rather too hard. Dinner as gladiatorial combat, inspired by competitive cooking shows, has ruined us for a simple roast chicken and salad followed by bought ice cream. But all sane people- that is, the kind of people you want around your table - prefer the latter to the former. Keep it simple. Some charcuteries and olives, a main course you can prepare in advance, something bought for pudding, everyone's happy, nobody's crying.

100 years. A century. Per centum. It can mark a mere moment in history or chart an entire lifetime. ����’s also the vision that Neptune’s co-founder John Sims-Hilditch has for the business: to create things that will last beyond a hundred years. A legacy of beautiful furniture, carefully considered, crafted and cherished.

This centennial mindset is the result of much contemplation, as John explains: ‘The idea started when we were considering the long-term challenges that face any growing business. What are the differences between a company that lasts beyond a century and one that ��DZ����’t?��

In exploring such a conundrum, John fell to thinking about his early military career, where defining purpose was the key to success �� not financial gain. ‘When purpose is well established, it can last a long time,�� he observes. ‘Traditional business doctrine teaches that the purpose is to maximise profit. But finance is a resource, not a purpose. Of course it needs careful management, but if a business looks after its customers, people and finances then it can achieve its purpose. The purpose needs to be front and centre.��

Once established, John saw that this mindset could offer a host of progressive opportunities, not least providing the team with a clear benchmark against which to test their decision-making processes. It was an approach that didn’t demand reactionary turnarounds or knee-jerk responses. Taking a long term view could help people navigate complex decisions. ‘This is not about rushing to a destination as a company,�� adds John. ‘The future is over the horizon and we can’t see it, but we know we will be there.��

����’s an intriguing philosophy �� future planning for benefits you may never see. Preserving for the generations ahead. ����’s not unlike the mindsets of creatives of the past �� 18th century gardeners who planted up estates but never got to see the wonder of the avenue of mature lime trees, or Renaissance architects who resolved structural issues but never witnessed the final stones being laid. ‘There is a real sense of humanity and spirit in this approach,�� says John, ‘creating something for someone else’s enjoyment in the future.��

In practical terms, the 100-year mindset means the business is focused on creating well-made, sustainable furniture that people will cherish. The solid oak tables and rush-seated chairs of today may, in time, become family heirlooms, imbued with sentiment and history.

Looking ahead, John envisages that the business’s restoration services will grow as more people choose to renovate and preserve their furniture rather than discarding and buying new. The team already share refurbishing advice, helping customers look after and maintain their investment pieces, but the ambition is to develop this part of the business further. ‘I suspect that a lot of what �ɱ�’l�� be doing in the future is looking after things �ɱ�’v�� made in the previous 100 years,�� notes John.

And so the purpose is set. Beautiful furniture made to last for 100 years and beyond. A simple concept. A huge vision.

The house had been empty for two years and was in a sorry state when Alyce and Henry stumbled upon it by chance when visiting friends for the weekend. Although initially daunted by the scope of the work –there were cracks in walls and a worrying amount of damp �� the couple knew they could take on the challenge, having renovated their previous two homes and developed plenty of resilience in the process. ‘�±�’v�� lived in states of chaos for years now and I actually enjoy it,�� admits Alyce.

From the start, they had a clear vision for this house: it was about returning the space to its former glory by sensitively stripping it back and restoring what was there. The couple knew that they would be living in it while renovating, which meant their approach would have to be more piecemeal than a complete gut job. They also knew that they would be hands-on, aided by Alyce’s father at weekends. ‘�±�’v�� never had to compromise on materials or techniques because �ɱ�’r�� not working to a rushed timeline, and �ɱ�’v�� gained an intimate knowledge of the house’s details.��

‘The house has thrown so��many surprises at us,�� says Alyce.��Woodworm has been their ‘trickiest��nemesis��, meaning that many joists��and floorboards had to be replaced.��But, behind crumbling render, the��couple have revealed unexpected��delights: fireplaces, old ridge lines��in the top bedroom that show how��the roof has changed position over��the years, and floating doorway��lintels that give an idea of previous��layouts. Two of their most remarkable��discoveries are a ten-metre deep��well, which would have originally��been the main water supply for the��house, and a ‘puzzling��, grand, double-width stone staircase that leads down��to the basement.

��‘Often what we uncover confuses��us even more about how the house��has been used in the past,�� explains��Alyce. ‘But, ����’s made us really��interested in its history.�� Over the��years, ����’s been a Nonconformist��meeting room, a boys�� school and��a girls�� finishing school, before��becoming a family home in 1937.��‘�±�’v�� tried to preserve the features���ɱ�’v�� found, so it stands as a��visual marker of the building’s rich��history. �ճ���’r�� beautiful scars of a��house that has been changed over a��300-year period.��

Along with the architectural quirks, Alyce and Henry have discovered fascinating elements that give insight into the lives of the previous inhabitants. A pretty green floral wallpaper, discovered sandwiched between the walls on the top floor, suggests one owner had a taste for chintz, while Alyce thinks a decorative bench in what will become the dining room could be a remnant from a school dining room. ‘T������’s also an old built-in cupboard in our bedroom, which I think would have been added by the school,�� adds Alyce. ‘����’s a tricky one for us, because ����’s too narrow to be useful, but ��’d really like to keep it as a reminder of the house’s history.

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Equally insightful are all the��bits and pieces Alyce and Henry��have unearthed from under the��floorboards and carefully preserved���� luggage tags, a candle snuffer, a��handful of letters, and even a pair��of architec��’s callipers. ‘Some of��them date back to the 1800s and��we love finding these fragments that��hint to the lives in the house before��us,�� says Alyce. ‘�ճ���’r�� treasured��possessions now and �ɱ�’r�� going to��frame them all in a big box frame.’��Old photographs and adverts for��the school, Alyce explains, ‘add��another layer of understanding��,��one describing the house’s ‘healthy��situation�� and another showing it, at��one point, with external shutters.��Taking the project slowly has��allowed the couple to let the house��evolve with their lives. ‘What we��want from it has developed over the��past two years and �ɱ�’v�� had time��to really think about how we want��to use the space,�� Alyce says. ‘I ��Dz�’t��think it will ever really be done,��because it will continue to evolve as��we do.��

I’ve always judged a place by how well it cares for its citizens. A bandstand �� built surely for no other purpose than collective pleasure �� is a pretty good start. In their Victorian heyday, there were 1,500 exotically designed bandstands in Britain. But then the paternalistic Victorians excelled at civic architecture, providing the public with landscaped parks, elegant bathhouses and lidos, ornate piers, and abundant libraries �� places for socialising, relaxing and coming together in good times.

Our need to gather is timeless though. Who didn’t feel that ache more acutely than ever during the pandemic? The sociologist Richard Sennet writes a lot about human requirements in times of crisis, especially our need to be surrounded by others, even if �ٳ���’r�� complete strangers. During my own family’s daily lockdown outings, I would strategically position us so we might find the opportunity for random chats. Creating this possibility for meaningful engagement is a pillar of community architecture. ����’s hard to feel lonely when bonded by music, play or good conversation. Its why design is so important: for civic architecture to truly work, everyone needs to feel that they belong. With ever more diverse communities, these places now need to be multifunctional, offering something for everyone.��

Perhaps tha��’s why �ɱ�’v�� lost many heritage assets to rack and ruin �� the Victorian one-size-fits-all response feels less relevant now. Take libraries. Many, in their stuffy old incarnation of silence and study, have not survived. But when their design has been approached with inclusivity in mind, ����’s made for some exciting reinventions. The colossal, tiered-glass Library of Birmingham features rooftop gardens, an outdoor amphitheatre, and dedicated spaces for kids and teens. Inside, it feels like a palace for the people �� each and every one of them. Similarly, architects Will Alsop and Jan Störmer’s fun, colourful (and award-winning) Peckham Library in south London is inviting, not excluding.

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We may not have the Victorians�� budgets (funded, of course, by the spoils of empire), but it feels like civic architecture is enjoying something of a renaissance. If ever I come across a new private-sector development, I always look out for the communal elements now that planning controls have enabled local authorities to demand �ٳ���’r�� included. The new Design District at the Greenwich Peninsula is an entire block of co-working spaces, studios, exercise areas, and eateries, all designed by a roll call of buzzy architects (among them SelgasCano, Architecture 00, and 6a architects). Its purpose? To support the creative industries with low rents and a cool, dynamic workplace in which anyone would feel proud to work.��

But, to me, the most exciting type of development is wha��’s known as ‘activation�� �� the repurposing of unused spaces for community use. It makes perfect sense, given the high volume of unused building stock and the environmental consequences of conventional construction. Building reuse is an important part of the circular economy, and perhaps the most economically viable option for civic architecture right now. The architecture collective Assemble were the first ever architects to win the Turner Prize �� for renovating a rundown neighbourhood, Granby Four Streets in Liverpool, for which they also created social spaces, a homewares workshop, and a local market.��

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Mostly wha��’s happening now are bottom-up endeavours. I jump for joy every time another glorious Victorian or Edwardian swimming pool��is saved from closure by local resident groups, who’ve invariably fought long battles against developers, and done everything they can to secure crowdfunding. T������’s an impressive list of such rescue missions (among them Leeds�� Bramley Baths, Bristol’s Jubilee Pool, and Manchester’s Victoria Baths), all lovingly restored and returned to a happy, relieved community, along with plenty of other options �� exercise, dance, food, chatting �� should swimming not appeal.

On another trip to Brighton a couple of years ago, we chanced upon the designer Morag Myerscough’s ��Belonging �����Ի���ٲ��Ի��� as it travelled around Sussex. Morag, whose work is renowned for bringing a smile to people’s faces, had adorned her mobile stage with placards created in community workshops. Variously reading ��family��, ��s���ڱ��� and ��be yourself t�Dz���ٳ�����, these slogans were people’s responses to what belonging meant to them. The message was clear: this was everyone’s bandstand. We ���dzܱ����’t resist the gravitational pull. We danced, played and picnicked, and left inspired, refreshed and happy. It was a perfect example of modern-day civic architecture: a moment of wonder created by the community for the community, and proof that you ��Dz�’t need extravagant new buildings to care for your fellow citizens.��

Such is the power and effect of the merest hint of red in a painting, or, for that matter, a room scheme. As Neptune's creative founder, Emma Sims-Hilditch, explains, 'I love the warmth that a touch of red can offer���� be it a lampshade, a cushion, or even a red-painted picture frame or picture mount. But it also acts as a focal point: your eye will naturally be drawn to a hint of red in an otherwise more muted colour palette.'��

And while most interior designers would agree that neutral colour schemes feel harmonious, calming, and welcoming, they would also suggest such rooms need depth to make them interesting and cosy. A pop of warm red in the form of just one vase or cushion, or even a stripe on a cushion, can be all it takes to turn a space from ordinary to something special.

This is because red is an 'advancing colour'���� it appears to come toward you����–��which is why it's so successful at creating a sense of depth when used against cooler, receding colours and neutrals. 'It could be as simple as some red spines on a bookshelf,' suggests Emma, who also runs interior design company Sims Hilditch. 'The merest hint of red makes the other colours stand out more. It's a bit like red lipstick on a face��–��it brings things to life. Or in nature, a robin redbreast in a snowy scene has the same arresting and beautiful effect.'��

Used to excess, red can feel overwhelming in a space, but according to Emma, the 'daub' of red technique can be introduced into most rooms of the home effectively��–��a deep red feature chimney breast in a sitting room, an elegant red bookcase in a study. Or even in a kitchen: 'I particularly love using our Burnham Red shade as a contrast. Consider painting bar stools red against kitchen cabinetry in Alpine Blue, Shell or Shingle.' Indeed, Emma has used the technique in the Cornish cottage she shares with her husband and Neptune co-founder John Sims-Hilditch��–��the bright red hull of a model sailboat pings amidst the gentle colour palette of the sitting room. Turner would have been delighted.

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One positive to emerge from the tumultuous months of the pandemic was a renewed appreciation for our local areas. Exploring streets and footpaths that we oft ignored in our busy lives, and rediscovering neighbourhood stores and artisans. It was in this spirit that design curator and advocate Barbara Chandler approached Neptune with an idea to identify and champion fine craftspeople working near our London stores, commissioning exclusive pieces with a strong sense of place.

The Neptune makers collection was launched in 2022, and the commissioned pieces went on show in our Fulham, Chiswick and Wimbledon stores, with all proceeds going to the makers. So, please meet our first six makers and their locally-inspired designs.��

Willow baskets��by Eleanor Morgan��

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West London basket maker Eleanor Morgan has created two baskets for Neptune. Handles are in solid bent willow and the baskets are made in the traditional “stake-and-strand�� style. “These baskets meld utility and function with a sculptural form,�� says Eleanor, whose willow comes from the Somerset levels –��the traditional area for willow growing.����

Historically, she explains, willow would have been grown in most communities to make the essential baskets of daily life. Baskets used in the market gardens of Hounslow and Isleworth were made in Kew and Kingston from willow grown near the Thames. Nowadays, though, ����’s a question of foraging. “Some of the handles for these baskets were foraged from North Ealing, some from Newmarket and I grew a small amount on my allotment in Isleworth.”��

“For me, ����’s all about provenance,�� says Eleanor. “People are surprised to find not only that baskets are still made in this country, but that there is a maker just up the road.”��

Iron Hooks��by Neil Brown

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Working from his forge at Brentford Museum of Water and Steam, artist-blacksmith Neil Brown has made a single and triple set of hand-beaten hooks for Neptune, riveted to a backing plate with holes for wall-mounting, all finished with a museum-quality wax.��

“I love the way a smith can take a hard, unforgiving material, make it soft and malleable, and turn it into an object of beauty,�� says Neil whose forge is the oldest in London in continuous use, dating back to the 1800s.

“Hand-forged metal work has a soul. You can see almost every strike the blacksmith has made, leaving a part of the smith in every piece.�� The hooks will become more polished as you use them. “When you have locally-made iron in your home, you continue a long history, becoming part of the story. As you put things on and off, you’ll add your own story,�� says Neil.

Pigment colour charts��by Lucy Mayes��

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Pigment maker and artist Lucy Mayes has created an exclusive collection of colours for Neptune which she has made into hand-painted colour charts �� “works of art that are a unique portrait of a place in time.�� Trained in fine art, Lucy started making her own paint colours years ago. Some pigments come directly from the earth �� “traditional�� ochres. Others are the natural plant dyes, along with the “flotsam and jetsam of the street��: bricks, slate, and charcoal ash. “I love this close relationship with the places my pigments come from.�� ��

In Fulham, Lucy explored the Thames foreshore, collecting fragments of Victorian clay pipes. Eel Brook Common produced a soft yellow brown and Hurlingham a darker shade. In Chiswick, Lucy found mussel shell and medieval clay tiles on the shoreline to grind and make into paint. Further inland, Gunnersbury Park yielded earth colours. “And I made a green-black paint from flakes off the railings at Turnham Green.�� From Wimbledon Common came yellows from Hawthorn berries and Dyer’s Weed. While, to celebrate the area’s tennis history, she made “grass green�� by mixing weld and verdigris. “And I extracted carbon black from a wooden antique racquet.�� ��

Hand-painted tiles��by Alexandra Browne��

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Alexandra Browne struggled to find tiles for clients when running her own interior design practice, so, “I decided to paint them myself!��, she explains. Her initial Pampelonne series �� inspired by the French Riviera �� was immediately successful. Alexandra has adapted her elegant style to reflect our Neptune London localities. The result is little squares of handmade and hand-painted ceramic art.

“Wimbledon was the easiest. How could I not do tennis?�� Chiswick evokes the river and Fulham has a parade of strollers along the King's Road.��

Today, tile-painting is Alexandra’s full-time job. Each motif is painted with the finest of brushes �� she wears out around one a week. And you can feel the raised brushstrokes on the surface of every tile �� a direct connection to the maker. “The homes I have lived in have always been more than just the bricks and mortar,�� Alexandra observes. “When I look back, I think of them in the context of their area. So, it seems more than fitting that a home should have something of its surroundings grouted into its fabric.”��

Pouring bowls by Linda Bloomfield��

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Chiswick potter Linda Bloomfield’s garden studio is where she has made a set of her signature pouring bowls for Neptune. At their base is a dark band of exclusive Thames Glaze, refined from mud collected on Chiswick Eyott. The glazed interiors are “river�� shades of a rich blue-green Mallard, delicate pale Willow and ethereal Dawn pink. Linda is a “queen of glaze,�� with a background in Engineering Science to underpin her ceramic expertise. “The Thames glaze is difficult to work with, as it has particles of clay mixed with iron oxide, silt, chalk, and phosphorus from decomposed plants. It shrinks in the firing and must be thinly applied, or it will peel off my porcelain clay ‘body��. But it melts in the kiln to a glossy red-brown.”��

Linda's bowls for Neptune are quintessentially local and personal.��She adds: "The dimples and throwing lines are a record of my hands touching the clay. Thus, pottery can form a powerful connection between the user and the maker �� and pieces can last for hundreds, if not thousands, of years.�� ��

Look out on our social sites for details of workshops and talks with the Neptune makers in our stores during 2023, and follow Barbara Chandler on @sunnygran

Photography by Barbara Chandler