Best Interior Design Books February 2015

The mother and daughter editors of this book, Geraldine and Monika Apponyi, are in a good position to talk about style, as they themselves are a talented interior designer team. The foreword is by Princess Michael of Kent, who like the Apponyis is also both Viennese and an interior designer, and who bemoans having been compelled to abandon an involvement in ‘trade’ in more conservative times.

The depicted designs couldn’t be more contrasting: From David Carter’s fabulously decadent own East End home that doubles up as an arty B & B, to David Collins’ urbane decoration of an apartment at The Connaught; and from Alidad’s grown up bachelor pad to John Minshaw’s pared down classicism, the fascinating cornucopia of delights that is design in 21st century London, ensures that there is never a dull moment. Other featured designers include Tara Bernerd, Rabih Hage, Stephen Ryan, Veere Grenney, Collet-Zarzycki, Nicky Haslam, John Stefanidis and Nina Campbell.

Showcasing the London-based selection of the work of mostly well-known interior designers, and a smattering of architects, art and antique dealers, they make the point that London – as a highly cosmopolitan city – has no individual style of its own, but is as wildly varied as the designs featured in their book. The featured designs are mostly all fusions of old and new, with a nod towards modernism, or baroque, mid-century or kitsch, 19th century classicism or Art Deco. What’s clear is that London style today is essentially a post-modern eclecticism. It is not only noticeable that recreated single period interiors are largely proving to be unfashionable, but with every decade both interior and product designs are becoming ever more eclectic in style. There’s plenty of creative inspiration to be had from this beautifully photographed book.

The Natural Home is the result of a partnership between two harmonious talents. Swedish stylist and former art director Hans Blomquist brings his designer Yin to Debi Treloar‘s photographic yang, in this beautiful and poetic paean to an aesthetic style that is fast becoming immensely popular. Although not overtly explored in this book, its Wabi Sabi ideological credentials are subtly visible both in the evocative styling and photography as well as in Blomquist’s explanation of his style. It comes out in the upcycled and vintage furniture eschewing waste, ‘luxury’ and newness; the deep connection with nature, not least in texture and palette; their slow and spontaneous working styles; and also their mindful and meditative tableaus.

As Blomquist has explained: “The book celebrates a home where style, through furniture and materials used, is very natural, celebrating vintage objects with patina that aged with time and use. The homes shown are furnished in a very spontaneous way… unplanned or un-staged, where the style and setting has evolved with time, where furniture and objects found their place, almost by accident.”

Blomquist doesn’t exaggerate when he says that his working method is spontaneous. He has described how he seeks inspiration in moments of silent contemplation, walking or sitting on a park bench: “I normally get most ideas and inspiration through not working at all…when I take long relaxing walks, or just sitting doing nothing. I think then is when I am mostly creative, as when one is totally relaxed, the ideas gather quite easily. I do love to be in nature as it is so silent and totally still with just birds singing and leaves moving in the wind.”

He doesn’t have an iPod and declutters his head by leaving it open to the natural healing sounds of nature: “Silence has become really important to me – the world is so noisy with cars and people. I prefer to hear real sounds, like birds or the wind. I don’t like being closed off from the world around me. I like being in the now.”

It is curious that such a deeply sensitive and philosophical stylist should have emerged from the heartlands of the corporate world as a former director of campaigns for Ikea, Harrods, H&M and Monoprix. But on the other hand it may also convincingly explain how he has got here.

The painterly still life atmosphere conjured by this talented duo lingers with you long after you have put the book down, which is a testament to their successful partnership.

The first thing that pops into ones mind about Laduree is of course the delicate pastel coloured macaroons. And no wonder as 15,000 of this dainty little delights are apparently sold every day. But in ‘Decoration and Inspiration’, the former editor in chief of Architectural Digest, Serge Gleizes surveys the elements that make Laduree’s style both distinctive and recognisable.

The fascinating story of the intensely feminine decorative style of this baker and sweet maker that was established in 1862, is also the story of three extraordinary women, who themselves were representative of three aesthetic styles over three centuries: Madame de Pompadour in the 18th century, Empress Eugenia in the Second Empire and Madeleine Castaing at the beginning of the 20th century. Gleizes explains how Laduree combines and adapts these three styles to create their own distinctive look. This book also incorporates a 3-sided pop-up presented in a ribbon-tied envelope that shows a perfect representation of Laduree style. Good enough to eat!