EDITOR’ S CHOICE
7. How do you balance old and new? I see old and new as partners rather than opposites. A modern sofa can be grounded by an antique rug; a contemporary light can bring freshness to a traditional room. The aim is to make spaces feel as if they could have existed for years, with layers of additions over time, rather than pinned to a single style or era. life into existing buildings, which is inherently more sustainable than starting from scratch. It’ s about working in harmony with what already exists, rather than replacing it without thought.
4. How do you define luxury in your projects? Luxury, to me, isn’ t always about the price tag- it’ s about the emotional response. It’ s the comfort of a chair that fits you perfectly, the richness of a handwoven textile, the way light moves across a space at different times of day. Vintage and antique pieces bring a rarefied quality because they can’ t just be ordered from a supplier catalogue-they’ ve lived lives before they reach you. That’ s a form of luxury you can’ t mass-produce.
5. What role does craftsmanship play in your design philosophy? Craftsmanship is at the heart of everything I value in design. I love pieces where you can see the maker’ s hand- a dovetail joint, hand-stitched leather, carved timber. In an era where AI and automation are becoming part of every corner of life, those human touches are more precious than ever. I also believe authenticity will be one of the most important forms of value in the future. A first edition book, a piece of 1960s pottery, a handwoven rug- these are the kinds of things people will increasingly choose to invest their time and money into, because they carry permanence, history, and soul that technology can’ t replicate. Preserving that is important to me, and incorporating it into spaces gives them a richness that lasts.
6. How do you approach sourcing? Sourcing for me is part detective work, part instinct, and part serendipity. I have my favourite places- auctions, vintage markets, and Lots Road which is close to home and has been a constant source of inspiration. The way pieces are arranged there is often delightfully unplanned; a marble lamp beside a brass mirror, a velvet chair tucked under a rustic table. Those accidental combinations spark ideas you’ d never get from looking at a supplier’ s website.
8. What makes your work different? I think it’ s the sense of time I try to create. My interiors rarely look like they were“ done” in one go- they feel as though they’ ve grown into themselves over years, with every piece considered and connected. That layering of history, texture, and personality gives them warmth and authenticity.
9. How does place influence your interiors? Place is everything. I design with the idea that a space should feel like it belongs exactly where it is. For a coastal property, that might mean picking up on the textures and colours of the shoreline; for a city project, it could be about echoing the geometry of surrounding architecture. I want the interiors to feel like a continuation of their setting, so that they’ re both distinctive and deeply connected to their location.
10. What do you hope people feel when they experience your work? I want my spaces to feel uplifting and joyful- places where people instinctively relax and feel at ease. And, as cliché as it sounds, I want them to feel like home, even if it’ s just for the time they’ re there. I hope guests notice the little details, the layers of story, and the care that’ s gone into creating them, so they leave feeling both inspired and comfortable.
www. njg. co. uk
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