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

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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,â€� says Sophie Miller, Neptune product developer.ÌýÌý

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

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

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

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

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Explore our mattress collection in-store or online.

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

The materials

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

The design

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

The making

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

Wholly owning the making process means quality and details are a focus. ‘We work closely with our highly skilled team at the Neptune factory in Qingdao,� says Mike. �We have a good idea of how we would like the product to be made, however, we don’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.

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

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

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

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

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

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Meet the freestanding heroes

Borough islandÌý

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

Borough chopping blockÌý

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

Farlow larderÌý

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

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

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

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

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

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

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

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

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

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

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The dining table today

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

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

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

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

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

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

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

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

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

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

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

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, we’ve 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 don’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.�

A room that is filled with colour and pattern will, by its nature, not lack visual stimulation. But for those who favour this season’s more calming, neutral shades, how can one create a scheme with enough character and interest to delight the eye, while keeping to a restrained and serene palette?

The key, says interior designer Sarah Vanrenen, is to think in terms of texture. ‘One should never have too much of any one textile, for example,â€� she says. ‘±õ³Ù’s important to create an interesting palette by mixing woven fabrics with velvet and linen.’Ì�

Other surfaces, too, can play their part in this play of contrasts: a glazed ceramic lamp base paired with a rattan shade will instantly add a note of intrigue to a room; the tactile quality of natural oak furnitureÌýcan tone down the sumptuousness of a velvet armchair or ottoman; and a textured, off-white rug (such as Neptune’s new jute Saunton rug) brings variation to the eye without the need for bold colour clashes.

Balance is also a vital element to consider when working with an understated interior scheme. While Sarah believes that ‘bigger is better with regard to most things � bigger lamps, bigger cushions, bigger beds wherever possible�, she also points out that proportion must be taken into account: ‘An enormous lamp and shade teetering on a spindly little table is not a good balance.�

The same applies when considering the shapes of furniture and accessories that are combined in a room. While the curved and rounded forms that have come to the fore in recent years bring a welcome dose of softness and comfort to a space, the friction that comes from juxtaposing such pieces alongside others executed with sharper silhouettes makes both styles more appealing. Sarah recommends pairing traditional upholstery with modern, clean-lined furniture andÌýart, for example, but it could be as simple as placing a collection of curvaceousÌývases and jugsÌýon aÌýchest of drawersÌýor installing a softly scalloped raffia ceiling light, like the newÌýMarina pendant, above a linen laden bed.

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Play with shape, texture and contrast in this way, and a neutral, understated scheme need never be boring, but will be rich in variation and visual interest.

Considered table settings are no modern convention. King Louis XIV was the first monarch to offer place settings for each guest. Until then, drinking cups had been shared between diners. By the eighteenth century, table settings had become extremely elaborate with a focus on symmetry and uniformity. Unsurprisingly, the Victorians formalised the etiquette, especially the placement of cutlery, driven by the desire to express wealth and status.

Thankfully, today, life is more relaxed, but the basics of table settings haven’t changed that much. There are some cultural differences � the French lay placements with the tines of the forks facing down (apparently to show the silversmith’s hallmark on the underside), and the Americans always place the napkin on the left whereas in Britain its position is optional. But despite our differences, appreciation of a well-laid table is universally shared.

At Neptune, the focus is on tableware that feels comfortable to use and is beautiful to look at � simple, artisanal crockery from Portugal in organic shapes and soft earthy colours, pure linen tablecloths and napkins, and well-weighted cutlery. Glassware designs range from chic cocktail glasses to refined wine glasses and casual tumblers.

Happily, creativity rules when it comes to a beautiful table setting. Mixing patterned and plain china, arranging inventive and unexpected centrepieces, using a mishmash of candlesticks � anything goes. Colour is a useful starting point and will help establish the mood of the tablescape. And while there are the traditional rules for setting plates, cutlery and glassware, there’s also plenty of scope for individuality and self-expression. Ultimately, a pretty table setting is not just the stage for meals but a platform for making memories with loved ones.

Pattern, after all, is as integral to your ²ú±ð»å°ù´Ç´Ç³¾â€™s mood as its colour palette. For a textured, calming space, I find that a small-to-mid-scale hero pattern in low-contrast tones â€� as shown on Neptune’s Clemmie headboard in ¹ó±ð°ù³¾´Ç¾±±ð’s Shell Grotto fabric â€� is ideal. Large-scale, high contrast patterns bring energy, so are better limited to lampshades, cushions or a headboard for interest.

Light levels and room proportions are a factor, too. Busy patterns over large areas � wallpaper, window treatments, rugs and bedding � will make your bedroom feel cosier but smaller. This might be perfect in a light, lofty bedroom, but if your aim is a bigger, brighter-looking room, I would pick out a one-colour pattern that your eye translates as soothing texture, or choose a light-coloured hero pattern with plenty of space between motifs.

Stripes, whether classic or abstract, can perform proportion-fixing tricks. Used vertically, in either wallpaper, curtain fabric or a tall headboard, they lift a low-ceilinged ²ú±ð»å°ù´Ç´Ç³¾â€™s height. Or, used horizontally, they’ll exaggerate a small ²ú±ð»å°ù´Ç´Ç³¾â€™s width or length. Or try laying an understated diagonal-checked rug to make a room feel both wider and longer.

I always find the hero pattern to be the best starting point for other pattern choices and the room’s colour scheme, since it will likely cover the largest proportion of the space, whether the headboard, floor, or walls. Whatever the hero’s scale, a successful combination of patterns usually includes one large and three to four small to-mid-sized motifs, united by a toning colour palette.

Use your favourite colour from the hero pattern in the greatest proportion as a plain, perhaps as a wall, wardrobe or carpet colour, and two or three low-contrast, toning accent colours from the hero pattern in smaller measures � picked out in bedding, a window seat fabric, in the border on a rug or the piping on upholstery.

Combining pattern styles and themes is vital for interest � aim for three to five. For example, if your hero is a trailing floral curtain fabric, you can layer in depth with geometrics, perhaps a subtle stripe for blinds or the headboard, and abstracts, such as a just-discernible textured-look wallpaper, all against a plain hero colour carpet. Of course, most brands group their fabrics and wallpapers in coordinating collections, which makes narrowing your choice � and planning a restful scheme � so much easier.

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It was a gut feeling that morphed into a ‘certain stubbornness,â€� laughs Neptune’sÌýco-founder John Sims-Hilditch, that led him and partner Giles Redman to a fundamental decision about the materials they would and wouldn’t work with.

Early on in Neptune’s history, as the business progressed from garden furniture to designing kitchens, John and Giles made an important agreement: they would never use MDF or chipboard in any of their designs, focusing instead on solid timber frames and super-strong birch ply panelling for all the cabinetry they produced, and oak or tulipwood for furniture. ±õ³Ù’s a commitment that still stands today, and John explains why: ‘It goes back to our founding principles of ‘doing the right thingâ€�. Even at that early stage, I was aware that you need an awful lot of glue to make MDF and chipboard which couldn’t be good for people’s health, nor was it as durable as solid wood, and it simply wasn’t nice to live with.â€�

From a sustainability perspective, John notes: ‘The wonderful thing about working with natural timbers is that they are organic. With sensible practice, they will easily regenerate � removing vast amounts of CO2 from the atmosphere. Today, our timber comes principally from the Appalachian Mountains, where trees have been planted at a faster rate than they are felled for over 50 years � currently at a replacement rate of 2.5 times.�

ÌýThe duo therefore source timbers based on their durability, tactility, and beauty â€� always selecting the right material for the right purpose. Oak was top of the list. ‘Oak has a long history in British furniture-making,â€� explains John, ‘¾±³Ù’s incredibly strong but also naturally beautiful â€� it doesn’t need coating or finishing. I consider it a king amongst woods because of that.â€� Teak was selected for outdoor furniture for its high oleoresin content which means it performs well in harsh weather, and tulipwood for painted pieces because of its durability and perfectly smooth surface that carries paint well.

John was also an advocate for birch plywood for the inset panels on cabinetry, as they gave doors a rigid dependability without being heavy or clunky. Ply is created using thin sheets of wood which are layered over each other at right angles and built up to create a strong, stable panel that won’t expand or contract according to climate in the same way that solid timber will. ‘We use a similar technique in the central panels of our framed tables such as Arundel and Suffolk,â€� adds John. ‘We take 6mm thick sheets of oak and cross-bond them to achieve a super-strong panel that won’t warp, thus dramatically improving the performance and life of our tables. This technique isn’t widely used because ¾±³Ù’s hard to do, but we believe ¾±³Ù’s worth it.â€�

ÌýWith Neptune’s 100-year vision influencing all their design and material decisions, it was important to find a way to protect the timber without detracting from its natural beauty. Step forward ±õ²õ´Ç³Ò³Ü²¹°ù»å®, which John and Giles developed with a specialist coating company based in Belgium. Unlike a traditional varnish or veneer, which leaves a sealant layer sitting on top of the wood, ±õ²õ´Ç³Ò³Ü²¹°ù»å® works on a penetrative level, soaking into the wood and binding â€� at a micro-cellular level â€� to every piece of raw cellulose that it finds, coating it in a protective film while leaving the wood surface looking and feeling naturally beautiful. That tactility of timber â€� alongside its beauty â€� plays an important role in Neptune’s choice of materials. ‘Touching wood, you feel grounded; walking on wood, you feel grounded,â€� says John. ‘Having wood in our homes brings us closer to nature, a place where we can feel happier and calmer. And ¾±³Ù’s that sense of serenity that we seek in the natural materials we employ in our furniture.â€�

We take in an infinite number of patterns every day, some consciously and others subconsciously. They are abundant in both the natural world and manmade design,Ìýwith plenty of overlap between the two. Pattern is a powerful tool to harness, not only as a vital interior design device, but also as a rich avenue for personal expression.

For pattern to be effective, though, it must be accessible. Leading the way in realising this mission is British fabric house Fermoie. Their workshop is situated on the edge of the Savernake forest â€� an immersive tangle of trees and the inspiration behind theirÌýbold . Their fabrics are made from start to finish onsite, with studio and manufacturing teams working side by side.Ìý

With so many patterns competing for our attention, Fermoie's signature is a simple one. Every design starts with a hand-drawn line, and they print using traditional rotary screens rather that digitally for a 'lightly kissed' effect. It's a brave move to stand by original methods in an increasingly digital world, but one that pays off. 'Printing with screens allows for a layering of textures and pressures throughout the fabric,â€� explainsÌýFermoie's Managing Director, Jamie Shawcross. This process creates a gentle impression, for remarkably useable designs that celebrate the materiality of the cloth itself.Ìý

Our shared focus on designs that are easy to live with is just one reason why we’ve partnered with Fermoie. Based just a short distance from each other in Wiltshire, we’re united by an unwavering dedication to providing a quality product and service. Our capsule collection features three prints and includes upholstery and cushions covered with ¹ó±ð°ù³¾´Ç¾±±ð’s 100% natural flax linen, and lampshades made from a lightweight linen sheer.ÌýÌý¹ó±ð°ù³¾´Ç¾±±ð’s patterns range from the small-repeat designs they’re so well-known for, to bold, expressive ones like . Nature serves as a constant guide for their studio team, as it does for us at Neptune. â€� one of the fabrics in our limited-edition collection â€� was originally drawn from a Dorset clifftop overlooking the water. The designer observed a surprising uniformity in the ripples of waves, which formed the basis for this geometric pattern. Inspiration comes in myriad forms, though, and the â€� also featured in our capsule collection â€� comes from an historic textile document found at Carskiey House in Scotland.

Founded by the original due behind Farrow & Ball, it's no surprise that colour plays a leading role in Fermoie's work. They take their cues from nature here, too, in much the same way we go about curating our signature colour palettes at Neptune.‘Neutrals, plains, and light colours areÌýall well and good, butÌý±õ’mÌýnot seeing that in nature.Ìý±õ’mÌýseeing boldness and brightness and bringing a little of that inside brings happiness,â€� says Jamie. And yet, once again, their approach, prizes accessibility. Fabrics are grouped by colour family rather than patterns, making it easy to mix different designs together in one harmonious scheme.Ìý

Where interior design can sometimes feel confusing â€� overwhelming, even â€� ¹ó±ð°ù³¾´Ç¾±±ð’s ethos proves that the best approach is often the simpler one.Ìý

A dresser

Dressers have proved themselves as perennial favourites. Offering storage and display space as well as a focal point for a room, they’re as useful now as they have been in homes for hundreds of years, and not a bit out of style either, so you know you’re in safe hands investing in one of these for your own home. Choose a timber one â€� be it an antique or a new design like oursÌýâ€� and it’ll age beautifully. And as the years go by, you can refresh the paint colour, change the handles and even move it to a different part of the home (they work everywhere from kitchens and dining rooms to living rooms and hallways) to give it a whole new outlook and lease of life.

Kitchen cabinetry

Of all the pieces of ‘furnitureâ€� in your home, kitchen cabinetryÌýhas to be the hardest working. ±õ³Ù’s used day in, day out by every member of the family, and has to stand up to the messiest room in the house as well. So, it needs to be durable and function effortlessly. And it should look good too, being the heart of the home and on show to just about everyone who stops by. Which is why, even if this home isn’t your forever home, we think kitchen cabinetry is a worthy investment. The cabinetry in our collection is also built in such a way that you can easily move it, be that from room to room or to a different home altogether, as our founders did with their Chichester kitchen

Outdoor furniture

If kitchen cabinetry needs to be durable, ¾±³Ù’s nothing compared to what garden furniture will come across. Between baking summers and freezing winters â€� and all the rain in between â€� if outdoor pieces aren’t well made, they’ll very quickly show their age. By choosing materials that have proven their worth outside â€� like all-weather wicker, teak, powder-coated metal and granite â€� and caring for them well, your garden furniture won’t tire so quickly.

Upholstery

A sofa or armchair in particular. Much like with your kitchen cabinetry, where you put your feet up in your sitting room is something you hopefully get to enjoy every day of the week. Instead of compromising on the style of sofa or armchair that you really want, invest in what’s going to make you happy. One that’s made to exacting standards inside and out â€� because we all know ¾±³Ù’s what’s on the inside that counts. The comfort you’ll feel from it and the way that it elevates the look of the room is something you’ll truly reap the rewards of.

An extending dining table

The beauty of an extending dining table is that it can flex as your needs and your home change. So if you’re planning on moving to a larger (or, indeed, smaller) home in the future, or if your family’s likely to expand, there’ll be no need to trade in your old table for a new one purely because of size. And even if your dining area is spacious, you might not want a dining table that seats eight, ten or twelve people when there’s only two of you eating at it day to day. An extendable dining table gives you that freedom to make your home a place just for you or for many.

Lighting

The switches and sockets, the bases and shades, the layout and the layers of light sources � lighting is one of the most transformative elements of interior design. It completely changes the mood and the texture of your rooms. See it as so much more than functional.

A mattress

We probably don’t need to tell you why this one’s a worthy investment. Look out for natural materials wherever you can because they offer the best temperature-regulating and moisture-wicking properties. Mattresses that contain wool and horsehair are also a good bet as these two materials spring back to shape time and time again. And always, always pocket springs. This is also the item it really pays to try out in person before you buy.

And a bed

A good mattress will be let down by a bad bed. Apart form anything else, if you’ve gone to the expense of a really great mattress, it’ll be damaged if you don’t give it proper support. We always favour beds with sprung slats over divans because they have a good amount of give that complements the springiness of your mattress â€� try our Chichester or Francisbed bases if you’d like to use a separate headboard â€� and we use beech wood to make our own because of its durable flexibility. The most important thing is that they provide consistent, even and well-spaced support for your mattress, so if you have an older bed with missing slats, ¾±³Ù’s time for an upgrade.

Flooring

Imitation flooring can be lower maintenance and easier to clean, but your feet will feel the difference with every step and your eyes will remind you of the fact ¾±³Ù’s not the flooring you truly wanted with every look. Your flooring is what grounds the room, literally and creatively. ±õ³Ù’s its anchor. On the whole, natural materials (which is what we use for all of ours) wear better and signs of age become marks of character, making it far less likely you’ll ever fall out of love with it too.

Tableware

So far, almost all the designs on our list have been bigger purchases, but there are a few smaller pieces where ¾±³Ù’s worth seeking out the very best quality you can, and one of those is tableware. Firstly, you interact with plates, mugs, bowls, cutlery and glassware every day, so ¾±³Ù’s important you like the look and feel of them. Consider how a piece feels in your hands â€� is the handle comfortable to hold, is the cutlery well balanced? Then, choose materials that will be practical. All our crockery, for instance, is made from stoneware (we upgraded every piece a few years ago) because ¾±³Ù’s durable in the dishwasher, can be popped in the microwave, and is much less likely to chip than earthenware. Whether it’ll fit in your dishwasher is another concern, particularly for dinner plates and stemware. Finally, think about how versatile it will be. We’d suggest getting a well-made, fairly plain set of crockery that’ll work for any occasion (try Lewes, Bowsley or Sutton) and adding more decorative pieces (like Lulworth and Olney) from there.

Ìý

For more on why ¾±³Ù’s worthwhile investing in well-made and considered pieces for your home, readÌýthis article on the art of buying well by interiors writer Jo Leevers.