Presenting The Gainsborough - An apartment nestled on the riverside, in the heart of London’s iconic Westminster.
There is a certain weight that goes hand in hand with anything to do with my home of London, an intangible gravitas that carries with it the depths of centuries-old culture, all enveloped in the energy of a thriving metropolis.
The city's iconic landmarks are a testament to its legacy, each telling a chapter of its enduring history and steady evolution. The challenge and joy of designing here lies in harnessing the dynamic spirit that floats around our city and translating it into an interior that encapsulates the essence of the capital itself. Art and architecture have resonated across these streets for centuries and this presence is the source of inspiration that has driven me to craft a space that pays homage to the city while encapsulating the luxurious, contemporary lifestyle it can offer.
With that in mind, I proudly present my studio's most recent work - The Gainsborough at Millbank. This 4,536-square-foot duplex apartment is unique in shape and legacy. The building has so much character, that I came to think of her as a beautiful, quintessentially English woman from a time gone by. Her natural grace needs only the most elegant of pieces to add a final touch of glamour to her innate beauty.
In a previous life, the building was the home to Imperial Chemical Industries, the country's creators and largest manufacturers at the time, of the familiar and enduring material Perspex. And the vast apartment itself? It was the Chairman's Office.
With spectacular views of the Thames, Grade-II Listed 9 Millbank was originally designed by Frank Baines, a staunch supporter of the conservation and preservation of buildings for which he had a global reputation. The Portland-stone exterior is flanked by 1920’s sculptures from Charles Sargent Jagger. The four effigies represent the industries of chemistry, agriculture, marine transport, and construction, or the four pillars of ICI.
It is a very considerate exterior and with the apartment named after the 18th century artist, Thomas Gainsborough, who was known for his inventive and original approaches, we needed a fitting ambience to match. The first floor of the apartment boasts an open-plan entertaining and living room with parquet herringbone parquet flooring. An original 1920s stained glass roundel depicting the allegory of Britannia is set in the middle of The Gainsborough’s sweeping 10ft windows.
As a team, we approached this project as a restoration and we worked to capture the grand majesty of the original features. The apartment was already adorned with rich walnut panelling and intricately floral-carved door frames; I wanted to ensure our designs for this extraordinary space allowed the beautiful bones of the building to breathe and take centre stage.
Sculptural chandeliers by Sans Souci in hand-blown crystal, Murano glass, and patinated bronze and bespoke carpets from Rivere were created to reflect the cityscape beyond the terrace. As always the work of Britain's finest ateliers and artisans was realised by incorporating bespoke sculptures and hand-crafted embroidered textiles alongside tactile materials like alabaster, parchment, British wool, Italian silk, and cotton velvet.
The grandeur of the surroundings is highlighted by our thoughtful selection of antique pieces for the various case goods throughout the residence. Each room has been meticulously layered with treasures from the past and is complimented by bespoke pieces, created to fit the unique dimensions of specific spaces.
The macassar ebony office desk pictured above was dressed with bronze details, a leather blotter, and dedicated pencil and paper arrangements within the drawers. Power was also worked into the design, ensuring all stays were as equally functional as aesthetic.
Hand-stitched silk wallcoverings by Fromental adorn the entryway walls with delicate beaded feathers. The design echoes the peacock motif that greets visitors from the building's exterior façade and accompanies motifs of the individuals involved in the founding of the company. Another iteration of the building is realised in the delicate shade used in the Master Bedroom: the cosy and nostalgic teal grey of Farrow & Ball’s Pigeon.
The graceful master bedroom features many original details, including timber panelling and the stunning circular plaster ceiling with its fine cornicing and decorative motifs. The moulded ceiling soars to 17 feet and the timber columns are akin to those found in London’s historic palaces. Cotton-linen drapes hand-stitched in bronze thread adorn the four-poster bed.
To the east of the apartment lies the family kitchen where contemporary fitted units and an island offset the imposing architecture. These features contrast beautifully with the rich lustre of the original timber panelling on the walls.
With the tall ceiling came tall windows, and owing to the listing of the building, we had to come up with innovative solutions to dress them. We went with a gorgeous Roman blind with an embroidered leading edge to pair with the light-and-airy drapes pressure-fixed mid-way. Meanwhile on the upper floor lie three en-suite bedrooms; the sage, pearl, and slate rooms respectively.
The 43ft colonnade terrace is accentuated by the apartment's vast floor-to-ceiling glazing. The only thing I love more than thinking of the lucky owner of this apartment enjoying the sunrise and sunset from their abode, is the wonderful sculptural addition St Edward commissioned. Standing alongside the existing representations of male scientists on 9 Millbank a sculpture of pioneering mathematician, Ada Lovelace, pays homage to the building's scientific legacy.
Designed by renowned London sculptors Mary and Etienne Millner, the work compliments the existing stone sculptures of Charles Sergeant Jagger and celebrates the woman's ground-breaking work on the world's first mechanical computer in the 1840s.
To see this marvellous building of national importance, rise anew, is very exciting. I hope you enjoy this little insight into the process behind bringing it to life!
About Katharine Pooley
Recently named ‘British Interior Designer of the Decade’, ‘International Designer of the Year in Asia’ and ‘Entrepreneur of the Year’ Katharine Pooley has in a short space of time become one of Europe's leading designers. Her portfolio encompasses a multitude of interior styles and architectural genres and her design ethos is one of luxurious eclecticism. No two projects are ever alike, but they are universally beautiful and timeless.
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Inspired by her flower-filled gardens in the heart of the English countryside, Katharine Pooley has designed a delicate and enchanting wallpaper collection with Fromental.
The hand-painted and hand-embroidered wallcovering showcases and celebrates a beautiful and harmonious landscape featuring copious butterflies, flowers, and other natural elements, with each panel telling its own story. The wallpaper is a charming and evocative design, perfect for bringing a sense of history and romanticism into any interior. The elegance and exquisite attention to detail of each brush stroke will ensure it will be adored for many years to come.
With every piece sold, a donation will be made to support Butterfly Conservation, the charity which works to protect and conserve British butterflies, moths and their habitats.
A contemporary interpretation of the traditional Chinoiserie style, the wallpaper has an original and captivating look, with different scales of flowers and foliage carefully placed to create a classically graceful flower border. It has been meticulously painted by Fromental’s artists on silk paper panels to reflect the charming detail of the gardens that surround Katharine’s Georgian home in Oxfordshire.
Katharine worked closely with the Fromental design team over several months to create a design that is both quintessentially English and very personal. The wallpaper features many of Katharine’s favourite flowers including Honeysuckle, Camellia, Lilac, Salvia, Duchess Peonies, Delphiniums, Clematis, Jasmine, Anemones and Forget-me-nots, and has been created in two colourways, Primrose Yellow and a softer Light Fawn hue.
Unexpected flourishes abound - a shy hedgehog here, a jewel like beetle there, a nibbling dormouse peeking through the foliage - and the pièce de resistance of the design - a smattering of beautiful butterflies – airily flutters overhead. Altogether it is a wonderfully whimsical scene, as if one has accidentally wandered into a secret English garden full of beauty and intrigue.
British butterflies, and their decline, are a personal passion project for Katharine, and having taken part in Butterfly Conservation’s Big Butterfly Count for the past few years, and noting the sad depletion of many of the incomparably wonderful species native to Britain, Katharine saw this wallpaper collection as a chance to spotlight and support the work of Butterfly Conservation, who tirelessly record, educate and lobby for the conservation of British insect life and to create habitats and nature reserves.
Under the presidency of Sir David Attenborough since 1998, Butterfly Conservation employs many leading scientists. Their report of 2022 revealed the alarming news that 80% of butterflies in the UK have declined since the 1970s and that of the 58 butterfly species in the UK, 24 species were classified as ‘threatened’, eight as ‘endangered’ and 16 as ‘vulnerable’. Half of the butterfly species that currently occur in Britain are therefore listed as either ‘threatened with extinction’ or ‘near threatened’.
As the Vice-President of Butterfly Conservation and wildlife broadcaster Chris Packham puts it succinctly: “Right now, we are facing a man-made disaster of global scale. The twin challenges of climate change and biodiversity loss are pushing much of the natural world to the brink – including many of our most treasured species. In the UK, the majority of our butterfly and moth species are in worrying decline. These beautiful and fascinating creatures are not just important in their own right, but are also indicators of a healthy environment for all wildlife.”
As well as featuring many of the most beautiful and iconic British butterflies in the design (including Large Whites, Small Tortoiseshells, Common Blues, Holly Blues, Purple Emperors, Peacocks, Clouded Yellows, and Fritillaries), 10% of every wallpaper sold will be given by Fromental to this important charity.
The wallpaper will be featured in Katharine Pooley's London boutique at 160 Walton Street and will be used to decorate the dining room and master bedroom of Katharine’s country home. It will also be sold at Fromental showrooms worldwide.
Katharine will be hosting a press event to formally launch the wallpaper in the UK at the end of June. This will be followed by the US launch in September as part of New York Design week, at the Fromental Lexington Avenue showroom, and then by the Asia launch in Hong Kong in November.
ceo and founder, Katharine Pooley Ltd.
Katharine Pooley, ceo and founder of Katharine Pooley Ltd., is the recipient of numerous high-profile British and international awards. Established more than 15 years ago, her Knightsbridge studio comprising 47 interior designers and architects creates landmark luxury commercial and residential projects in London and around the world for the most discerning clients. Katharine’s highly personal approach of immersing herself in every detail in her clients’ complex projects has resulted in a loyal international fan base. Her aesthetic is very much client-driven, and she prides herself on being a complete design chameleon.
Katharine also has a standalone retail boutique in South Kensington that, as well as her website katharinepooley.com, showcases a range of curated accessories sourced from around the globe.
How are lifestyle changes influencing the way products are designed?
Nowadays it's all about timing, materials and costs. We really want to design our own bespoke products for clients rather than just buying things off the shelf. We want to create something that's very special. Many of our clients are high-net-worth individuals who are looking for unique items – although we’re also still buying a lot of antiques. It’s lovely to mix a bit of new with a bit of old.
The new generation wants cleaner living spaces. They’re not that into clutter or, ironically, antiques. It depends on the generation and the age of the client. In the Middle East, for example, they’re looking for items that are dust-free, so they don’t want pieces designed with shadow gaps that cause them to have to clean all the time. Some people have been quite fussy about glass and frames, some are saying they don't want polished chrome and others want bronze because it requires less cleaning. It’s all because we have less time nowadays and more stress than ever before. People are looking for an easier, more balanced life.
How is the luxury market changing?
Luxury is very different for many different people. For me, time is a luxury because I never seem to have it. For those who have so much wealth and so many assets, luxury is all about layers: wanting something bespoke that no one else has got and that is so unique, it can’t be bought for anyone else. To be honest, I don’t know if that’s a good or bad thing. I think it's far better to take the approach that less is more, but that's just my opinion.
We’re talking more than ever about the economy and the climate. I do an awful lot of international work. For example, in Hong Kong, there were the riots, and now the coronavirus, and then in Australia, the flooding, it’s one drama after another. What I would love to look at this year is trying to encourage our clients to be happy with what we've got. But also, to think about the environment and maybe not using shagreen, not using rosewood, and trying to protect the Earth as we can. I was recently asked at a conference how we ship products for our overseas projects. Well, it’s absolutely right everything can go by boat, which helps the environment. But at the same time, maybe there are things we can choose locally. I really do believe in quality, and in Britain we're very blessed to have the best, so it's important to get it right the first time. I'm very into the ethos of the environment and preserving the world.
Is more always more? How do you balance patterns and materials to avoid visual overload?
For my clients, there’s no such thing as overload. They want more and more and more, whether it's a trim on a lampshade or whether it's a different material within the pleats, or whether it's three trims on curtains. It’s amazing, they just want that attention to detail. One of my favourite designers is Kit Kemp, who has the most amazing ability to add huge amounts of different fabrics and materials. Look at Martin Brudnizki’s design of Annabel’s private members club - you can’t get more fabrics in one room, can you? There is a way to make it work. But is it sustainable and is it liveable? That’s only a matter of personal choice.
More and more, my clients say they’d rather trust my opinion. If I think something is too much, I have no qualms about being honest with them. We’ve had times when clients say, “No, I’m going to have it,”, but then really hate it. So, we have to be careful. But look, interior design is about fun, isn’t it? It's always enjoyable to be able to have some play areas and some that are calmer. It’s also about trying to find the calmness for one’s life.
Where do you find your treasures? Do you have a network of scouts who keep an eye out for quirky pieces?
I'm always travelling, always on the go and on the lookout for different things. I feel very blessed. I do go back to the same people, but I also try new things. Nowadays, it's so hard to find unique things because clients have access to all the shows like Maison et Objet. So, it's quite important to try and find unique things. For two really big projects we’re doing now, I’ll give my sources carte blanche to find something and then if I don’t like it, they’ll go off and find other things. They’re always sending me fabrics and I’ll say what I like or don’t like, and then that's how we reach agreement with a client. Some clients don’t care about, and some really do. It depends on the clients themselves.
We end up designing a lot of our own stuff, which gives us an advantage and also helps us deal with the issue of copying that is quite a big concern now.
What inspires you both professionally and personally?
Travel, without a doubt, inspires me professionally. I'm very blessed to get to travel and have always been inspired by different cultures. I grew up in the Middle East when my mother and stepfather were posted to Bahrain. I feel very comfortable living and working in the Middle East and have an office there. I also lived in Hong Kong for 16 years and am very into the Asian life and ethos. I feel very blessed to have a multi-cultured background that enables me to understand different cultures.
Personally, because I'm so in love with so many different designs and styles, I’m always wanting something like that in my house and end up with a complete museum of my projects. For example, I loved a panel by Palestrina, a division of Turnont & Gifnon, it’s amazing. My husband keeps saying to me. “Oh my god, what now?” All I’ve learned inspires me personally.
Katharine is one of the prestigious experts invited to join the extraordinary jury for the SBID Product Design Awards, alongside other renowned professionals across industrial and interior design, brand development, architecture, educational research and forward-thinking enterprise.
Click here to view the full judging panel.
The SBID Product Design Awards 2020 entry deadline has been extended!
To find out more about entering, visit www.sbidproductdesignawards.com
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