The dictionary definition of ‘traditional’ is straightforward, referring to anything habitually done, or long-established. When it comes to our homes, however, it appears that there’s room for interpretation. Polled designers had varying responses as to what constitutes a traditional interior, with quick answers ranging from ‘timeless and a neutral, calm palette’ to ‘brown furniture, and Colefax & Fowler chintz’ – and many noted that their clients would all have different answers, too.
But it’s worth thinking about – not necessarily for its own sake (though for some people, tradition is all) but because often there is sound reasoning behind tradition. “With the uncertainty of climate change, certain traditional elements are more important than ever,” points out Susan Deliss, who has recently returned from her home in France. She was there for this summer’s heatwave, and “the bones of a building matter, having shutters to keep rooms cool or warm,” she says. “In most cases, traditional materials are better at withstanding weather, and lasting.” But does that translate to soft furnishings, furniture, and room layout? And, if so, how?
Let’s examine the aesthetics. “‘Traditional’ can be either classical or vernacular – in both cases it is about using a historically enduring canon of patterns, motifs, structures and crafts,” says Janie Money, a decorator at Sibyl Colefax & John Fowler. In this country, what we call English Country House style is often mooted as being the most traditional approach (and certainly it’s endured the decades). Ros Byam Shaw describes the style as “a mix of antique furnishings, at least one capacious sofa with a generous serving of cushions, rugs, table lamps with fabric shades, and flowers both fresh and recreated in prints and paintings. Antique textiles, a dash of modernity, a flourish of the oriental, and a couple of dogs can be added for extra flavour.” Alidad points out that the look can be a spectrum, “you can have heavy traditional, or light traditional.” Ben Pentreath warns against an interior that is too traditionally in keeping with the period that the house was built – “it can feel like a museum set piece.”
Indeed that modernity – whether it is just a dash, or more – is vital, “or an interior stagnates,” says Nina Campbell, calling in from Colorado, where she’s been updating a house that she first worked on thirty years ago. Janie talks of “traditional with a modern twist, which is something we at Sibyl Colefax & John Fowler enjoy doing very much”. And traditionally, that ability is what tends to make an interior outstanding – for additional examples, look at the work of thththe most influential designers of the 20th century. David Hicks married antique furniture with clean, modern lines and bold colour. Roger Banks-Pye (another Sibyl Colefax decorator) put the famous Colefax & Fowler Fuchsia chintz on his bedroom floor. Nicky Haslam – well, Nicky’s still working now, and still innovating; just look at the chintz-wrapped pillars in Flora Fraser’s drawing room.
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