Some spaces lend themselves particularly well to a generous injection of moody hues and this kitchen in Hackney, London, is one of them. Wall-to-wall bi-fold doors drench the space in natural light, allowing designer Charlie Smallbone of Ledbury Studio to dabble in a decadent mix of dark materials and bring a sense of drama to the bright space.
Typically for Ledbury Studio, metal punctuates the design, most notably on the front of the tall fridge-freezer, which is clad in aged verdigris copper panels. Subtler touches range from a strip of aged brass that runs along the top of the stained oak cupboard doors on the base run to a brass undermounted sink and aged brass handles on the island cupboards. Bringing the metallic elements together is a Stone Italiana Ambra worktop that combines the beauty of natural stone with the performance of hard-wearing quartz.
Continuity is essential when a kitchen is part of an open-plan space, and to strengthen this kitchen’s connection with the adjacent dining area, Charlie’s distinctive Choppy Water design is hand-carved onto the end panel of the island and on the cupboard in the dining area. As a side note, the cupboard comes complete with a built-in wine cooler, wine rack and a fluted-glass cupboard for glassware, making it a super-handy addition.
Storage is a crucial aspect of all Ledbury Studio kitchens. In this one, a large larder cupboard fitted with doors, racks, shelves and drawers offers a wealth of space for everyday cooking essentials. Open shelves above the sink serve a more decorative purpose, letting the homeowner showcase some of her favourite accessories to personalise the space.
Ledbury Studio kitchens start from £50,000.
About Ledbury Studio
Ledbury Studio is a new and exciting design studio, showcasing Charlie Smallbone’s latest kitchen designs. Small and personal, Ledbury Studio has been established to explore and develop the interface between kitchens to cook and work in, and kitchens to live in. The company offers something very different in the world of kitchen design, something not found elsewhere. Combining exquisite materials and artisan craftsmanship, the new kitchen collections are striking and innovative and the culmination of Charlie Smallbone’s history at the forefront of cutting edge kitchen design.
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You’d be forgiven for thinking that the owner of an Edwardian villa in the New Forest would be looking for a classic kitchen to match her house. In fact, nothing could have been further from the truth. Her reason for approaching Ledbury Studio in the first place was because she was looking for something a world away from the standard Shaker look.
“When I first met our client, not only was she undertaking a big move from the Midlands to the New Forest, but she was also embarking on a sizeable kitchen project too,” recalls Charlie Smallbone, founder of Ledbury Studio. “She knew she’d be spending most of her time in her new kitchen, as it was roomy enough for both a large island with breakfast bar, a separate dining area, and plenty of tall cupboards for storage.”
To bring the required contemporary aesthetic to the room, Charlie designed furniture that combined beautiful book-matched walnut veneer with hand-patinated zinc panels. The zinc panels are edged in the same walnut and the cupboards feature aged-brass handles. This juxtaposition of timber and metal is a signature feature of the Metallics Collection from Ledbury Studio, giving Charlie’s kitchens their unique look and feel.
The stunning island – topped with an Ambre quartz worktop – is an obvious focal point, but you also can’t ignore the imposing Housekeeper’s Cupboard behind it. Charlie designed this piece of furniture to mimic the cupboards beloved of the original residents of Victorian and Edwardian homes, so it seems fitting that there is a contemporary version in this house. It has space inside for the microwave and breakfast items, with pan drawers below and fluted-glass cupboards on either side lit from within to create a display. There is also a tall larder next to the fridge with pull-out freezer drawers, and sufficient cupboards and drawers elsewhere in the kitchen to keep it clutter free without any need for wall cabinets.
“What’s so pleasing about this kitchen is that one of the pieces I designed for it has already become one of our client’s most treasured possessions,” says Charlie. “The bespoke walnut table was made from a single piece of walnut, which we then embellished with aged brass. We designed a banquette seat also made from wood and upholstered in leather. The banquette needed to be durable enough for the other important member of the household, my client’s gorgeous Dalmatian, to be able to lounge in comfort too!”
Bringing the whole design together – and adding an additional contemporary feel – is the chic terrazzo floor. Again, it’s a great hardwearing choice for a dog owner, and the shades of grey perfectly play off the tones of the zine panels above. Both homeowner and her canine companion are delighted with their new kitchen!
When it comes to challenging the limits of what materials can do, Ledbury Studio is building something of a reputation. The latest design, the Camden Kitchen, is a textbook example of this, combining beautiful materials and artisanal techniques to stunning effect. Ledbury Studio founder Charlie Smallbone talks through how the Camden Kitchen was realised.
Our client has a strong sense of style, so was already full of ideas when she came to see us. I really like that because the design process should always be a collaborative one, and is personal to each client. In this case, the room was being extended into the garden beyond, and we were tasked with designing a relaxed and informal space for cooking and entertaining.
I had decided to use English and European oak throughout the kitchen, and we took particular care to select oak all from the same batch. The result is that the grain matches perfectly and can be seen to run across the width of all the drawers, it’s a really satisfying detail. And for the full-height cupboards, we introduced a design motif that completely belies the practical nature of the fridge, freezer and larder concealed behind.
The show-stopping island top is a work of art by Lara Bohinc of Bohinc Studio. It’s a selection of Italian marbles, inlaid into an aged-brass edge trim, in a selection of shades that elegantly complement the muted colours throughout the rest of the kitchen. For the long runs of worktop, we specified Ambra quartz, for natural-looking veining in a hard-wearing manmade material.
We’ve employed our signature use of metal with patinated zinc panels on the cupboard to the left and on the extractor hood, where it’s trimmed with aged brass. There is an antiqued glass panel surrounding the extractor, which reflects light from the garden around the kitchen. And possibly my favourite detailing is the delicate fluted oak on the ends of the island, which is echoed in the fluted Ambra quartz splashback.
As this was to be a room for entertaining, our client particularly requested a screen she could pull across to divide the dining area from the kitchen when required. I was inspired by a ‘70s design the client found in an antiques shop, to create this screen of brushed and polished stainless steel in a striking geometric pattern. It’s a great finishing touch to this beautifully eclectic kitchen.
Charlie Smallbone needs little introduction. The founder of iconic brand Smallbone of Devizes, he has been pushing the boundaries of kitchen design for over 40 years. Charlie’s latest venture, Ledbury Studio, was born of his desire to harness the beauty of original materials whilst creating practical kitchens that exude style and elegance.
Charlie Smallbone of Ledbury Studio has unveiled the Marquetry Collection. This stunning new bespoke kitchen has its debut in the studio of interior design and architectural practice, Hill House Interiors. Charlie is renowned for his luxurious design style, razor-like attention to detail and commitment to innovation – and the Marquetry Collection is no exception to this. Here Charlie reveals all about Ledbury Studio's latest offering.
The brief was an interesting one! We were asked to conceal the conventional elements of the kitchen behind beautiful cupboard doors so that the generous open-plan space can instantly switch from living to dining to cooking.
To achieve this, we specified two sets of pocket doors that slide back to reveal appliances and a wealth of storage. Particularly savvy are the walnut veneer larder pull-outs that we installed either side of the bank of ovens. Although narrow, they are great for stashing all the cooking essentials you’ll need to access at a moment’s notice.
In keeping with Ledbury Studio’s signature aesthetic, The Marquetry Collection is a contemporary take on traditional artisanal skills. Directional veneers were applied by hand to form a decorative pattern and inlaid with aged bronze. Bespoke handles, also in aged bronze, add the finishing touch.
The front of the island is clad in solid brass which has been distressed by hand, then aged and patinated. As a design feature, it injects texture and provides a contrast with the smooth marquetry panels. A porcelain surface wraps round the solid brass panel, chosen for its combination of stylish good looks and hardwearing properties. Non-porous porcelain is also a practical choice for the integrated sink, and creates a beautiful backdrop to the open shelving.
By locating the hob on the island, we have maximised the sociability of the space. While preparing dinner, the designated chef can carry on a conversation with whoever is perched at the breakfast bar or sitting at the dining table.
Open storage never fails to inject a generous dose of personality into a kitchen. Although our brief was to hide the majority of the kitchen, it was important the design shouldn’t just be a blank canvas. So, by adding bespoke walnut shelves above the kitchen sink we provided space to express some individual style.
What strikes you about this West Sussex kitchen on first glance is the sheer number of finishes and techniques on display. Testament to the craftsmanship and skill involved in creating it, the space has been transformed from its previous incarnation. “When I first visited the house, the kitchen was dated but the room as a whole was bursting with potential,” remembers Charlie Smallbone, founder of Ledbury Studio. Here, he reveals how he channelled his client's love of antiques and eclecticism to turn it into a sociable space designed for serious cooking.
The couple are keen on entertaining, but the kitchen also has to function as an ad-hoc office, as our client's partner works from home. And then, because our client works in an auction house and loves antiques, they wanted us to take an eclectic approach to the design with a rich mix of materials and finishes. In this case, less is not more! My brief was to create the feel of freestanding furniture, rather than of a fitted kitchen – so it looks like somebody has gone out and bought lots of lovely pieces. As such, the kitchen we designed for the couple is a beautiful, informal, living, dining and kitchen space that ticks all boxes.
When the couple visited our Notting Hill showroom, they instantly fell in love with our signature Metallics Collection copper-fronted cabinets. Naturally, we integrated two into the design — either side of the window for a lovely framing effect. The copper is a living finish that will mature over time, developing a rich patina.
The painted cabinets were given a primer in our workshops and then hand painted in situ by our artist Emma, in close collaboration with the client. The beautiful burnished paint effect was inspired by the grey-green elements in a favourite copper vase. There are four hand-painted layers, one of which is a tinted pearlescent. This makes the paint shimmer, so the colour isn’t flat, and it’s this that unites all the finishes in the kitchen.
This tall freestanding piece acts as a breakfast cupboard housing a coffee machine, toaster, kettle and all other breakfast paraphernalia. It has the aged-pewter finish on the doors, over which we've put a protective finish so that fingerprints don't mark it and the surface is easy to clean.
The cabinets below the breakfast cupboard feature a pattern we call Choppy Water. Solid oak panels were carved and then stained dark to create the effect. If you look carefully, you’ll see that it’s been finished with gold-leaf appliqué, which injects a dash of glamour into the kitchen. Both the wood and the appliqué are protected by a 5% sheen lacquer. The Choppy Water finish has also been used on the appliance housing opposite.
We used the same work surface throughout, which is a man-made quartz called Arabesque from Stone Italiana. It is a very practical solution — non porous, hard wearing, resistant to heat and scratching, and does not require sealing. What’s more, it allowed us to seamlessly incorporate a sink, also in Arabesque. Losing the join lines between the worktop and the sink lends the kitchen a sleek look.
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This London pied-à-terre is a masterclass in open-plan living. Despite its relatively compact proportions (5m x 7m), the homeowners wanted to slot in a well-equipped kitchen, dining and living areas. Charlie Smallbone of Ledbury Studio was tasked with designing a kitchen that would both furnish the space and enhance its overall look.
“Just because a kitchen is bijou, it doesn’t mean it can’t be big on style, and I think this project perfectly demonstrates this,” says Charlie. “We have hidden much of the functionality behind closed doors meaning that all you can see is a collection of handmade pieces of furniture. So, whether the family are dining at the table or lounging in the living area, they always have a beautiful view.”
To ensure the kitchen is a seamless extension of the living area, Charlie opted not to install wall cupboards above the base cabinets. This created space for floating glass shelves, allowing the homeowners to weave in a touch of character with plants and decorative objects. A hanging rail was also added, retaining the much-coveted open feel whilst keeping kitchen paraphernalia close to hand.
Charlie’s greatest challenge was to fit all the functional aspects of a kitchen into the single wall of furniture. “It was tricky but I am happy with the final arrangement, which incorporates a lot of storage as well as all the essentials,” he explains. “It features a stone sink and Miele induction hob sandwiched between a tall, integrated fridge-freezer and larder cupboard at one end, and a dropped-down worktop with storage above it at the other.”
The cupboards themselves feature pewter fronts, which speak to the homeowners’ eclectic style. Made from sheet metal that is hand textured with hammers and heat, and given an aged patina using acid, the surface is then sealed with lacquer so that it stands the test of time. The cupboards are finished with concave stainless-steel handles that have been blasted to dull the shine and darken their appearance.
Bianco Macaubas Quartzite was specified for the worktop; a hardwearing but stunning natural stone with rich marble-esque veining. Charlie paired this with a Verre Eglomise splashback, whereby pure gold leaf was applied to the reverse of toughened glass and antiqued. Not only does it look stunning, but its reflective properties help to bounce light around the room and increase the feeling of space.
Charlie Smallbone, founder of Ledbury Studio, and his team faced a significant design challenge in this latest project. The existing kitchen of a 1920s house in North London was long and narrow with very little natural light. Located to the rear of the house and accessed via an adjoining dining room off the entrance hall, the advantageous lofty proportions of the space were unfortunately complicated by three different ceiling heights (the consequence of crude building works some 30 years ago). At the back of the kitchen was a door leading to a former cold store that had been converted into a cramped utility room. Here, Charlie reveals how they created the stunning new space.
Firstly, I wanted to get more natural light into the space. To achieve this, the utility room was replaced by a small lean-to extension accessed via glass doors at the rear of the kitchen and we also installed a large roof light.
Secondly, the client was keen to push the cupboards as high as they could to maximise every inch of storage space. However, at the same time, they wanted to retain the original coving. My solution was to put coving on top of the furniture and use this as the lighting recess that runs all the way round the room. The recess then joins seamlessly with the ceiling coving above, which in turn becomes part of the furniture. It is a great way to link the architecture of the room and the furniture, making them appear as one.
We chose fluted glass for cabinet fronts to keep the design light and airy, but without having the contents on display as you would with open shelves. The worktops are hard-wearing Classico Marble Arabesque quartz coupled with Verre Eglomise splashbacks, whereby pure gold leaf was applied to the reverse of toughened glass and antiqued. Demonstrating an eye for detail, the client requested a floral design be gilded onto the Verre Eglomise surface behind the hob, transforming it into a standout feature.
The kitchen is mainly taken from our Ledbury Shaker collection, but the client was also keen to introduce our signature use of metals. We added aged brass to the edge of the cooker hood and also used it for the plate rack’s supporting brackets, the hanging rails mounted on the splashbacks and the cupboard handles.
The client is a prolific cook with a library of recipe books now housed in a floor-to-ceiling bookshelf within easy reach of the prep space. There is a generous breakfast cupboard too, combining a wealth of storage with dedicated space for microwave and coffee machine. Space to store wine was another priority, so we integrated a wine storage appliance into the design, in addition to the open wine storage in the mint-coloured cupboard. To the right of this is a walk-in cupboard for the boiler, and a slot for the washing machine and tumble dryer, stacked one on top of the other to maximise space.
Finally, the units either side of the range cooker constitute one of the most important parts of the design for me. What looks like multiple wall and base cupboards are actually two complete pieces of furniture.
Charlie Smallbone, founder of Ledbury Studio, has garnered a reputation for collaborating with talented artisans. His latest project in Wimbledon is no exception. It features stunning stained-glass windows by celebrated artist Brian Clarke that strike a colourful contrast to Charlie’s cool, industrial-inspired design.
“As a lover and collector of modern art, our client wanted a minimal look to the kitchen that would allow her paintings, as well as the stained-glass windows, to really pop,” explains Charlie. To achieve this, Charlie used aged, hand-finished solid zinc doors from the Metallics Collection on the side of the island facing the room. Elsewhere, the cabinetry features a specially commissioned paint-effect created onsite by Ledbury Studio’s resident artist Emma Culshaw Bell. “To maintain the less-is-more approach that our client covets, all cabinets are handleless to create a sleek, unfussy look,” adds Charlie.
Two sets of natural oak drawers with exposed dovetail joints inject a craft-inspired vibe into the pared-back design. Airy Concrete Caesarstone was then chosen for the worktops; a perfect complement to the concrete flooring. The finishing flourish is Crittall patio doors that open into the garden – an essential element of any industrial-inspired kitchen.
“This is a kitchen that works on so many levels,” concludes Charlie. “It’s a highly functional family kitchen, a great open-plan entertaining space – that links so well with the garden – and the backdrop for some truly stunning pieces of art. I couldn’t be more delighted with the finished effect.”
This week's instalment of the #SBIDinspire interior design series features a residential design by Ledbury Studio. This London pied à terre is located in a leafy square of imposing mid-19th century properties in Pimlico. The owner was completely refurbishing the two-bedroom apartment and wanted a copper kitchen for her stylish open-plan kitchen-living space. Ledbury Studio’s Metallics Collection kitchen – the first copper kitchen our client had ever seen – was, therefore, the perfect fit.
Company: Ledbury Studio
Project: Pimlico kitchen
Location: Pimlico, London
What was the client's brief?
The owner had a very definite vision for her whole apartment that included rich colours, mid-century furniture and metallic accents – and the copper kitchen was a key part of this. The kitchen was to be situated on one side of the room with sitting area on the other, so she didn’t want something that looked like standard square kitchen cabinets. They had to resemble standalone pieces of furniture that would blend into the look of the whole room.
What inspired the interior design of the project?
Our client was searching unsuccessfully for a copper kitchen when she saw the first incarnation of our Metallics Collection at the Chelsea Flower Show in 2018. When creating that kitchen, I had chosen copper because I wanted to harness the beauty of solid metals and use them in a contemporary kitchen setting that was different to anything else out there. Which is why our client was so excited to see the kitchen in her head become a reality!
The design needed to be a beautiful but practical working kitchen in a compact footprint. As such, the antiqued copper doors are kept to one side away from direct contact with heat or water but still provide the focal point our client wanted. For the worktops and splashback, I chose hard-wearing Bianco Macaubas quartzite, rather than the marble that was originally specified in the Chelsea kitchen. Thus, the island serves as a functional sink and prep area, as well as a breakfast bar to gather around. And finally, to answer the brief for furniture that looks like standalone pieces, I included a glass-fronted display cabinet in black-stained oak with an unusual dropped worktop.
What was the toughest hurdle your team overcame during the project?
The biggest challenge was to create a glamorous design that worked in this relatively small space. With the kitchen and sitting room forming a multi-functional area, I had to ensure I got the balance of the design right between having an island, a breakfast bar, a wall of cabinetry, and then having a really attractive sitting room as part of the whole set up.
What was your team’s highlight of the project?
This was one of our earliest projects and I think the highlight was that it showed us just how different and how attractive the use of the copper could be. Seeing the copper combined with the stone and the wood in a kitchen context and seeing how well it could work – that really was very exciting.
Questions answered by Charlie Smallbone, founder of Ledbury Studio.
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SBID Accredited Partner, Ledbury Studio opened the doors of its bespoke kitchen furniture showroom in 2019, but founder Charlie Smallbone is no newcomer to the industry. The legendary designer has been pushing the boundaries of kitchen design for over 40 years.
What is your kitchen design philosophy?
‘A kitchen is for life’. I said that to the actor George Layton in 1981, when I installed one of my first kitchen designs at his London home and I still believe it to this day. At the time, though, I think George was more concerned with the cost of the kitchen than with my musings!
That said, Ledbury Studio is much more about the future than the past – every day I look forward and try to produce something unique. I still want to deliver contemporary designs using beautiful, mostly well-known materials, but I am looking to treat them in a radical way to produce something that can’t be found anywhere else.
What materials did you choose to work with for your Ledbury Studio designs?
Traditionally, the use of metal in the kitchen has been largely reserved for appliances and handles, with polished stainless steel and brass the prime material choices. But having worked with both solid and liquid metal progressively for a number of years now, the idea of broadening the application of metal in the kitchen and taking it beyond its traditional uses excited me. It was also was one of my primary inspirations in founding Ledbury Studio.
From the outset I realised that this application of metals needs to be carefully executed. For this reason, I decided to take a disciplined approach with our first Ledbury Studio kitchen concept, the Metallics Collection – to use ‘metal with integrity’. So, rather than using liquid metal finishes, I opted to explore the potential of solid metals: initially copper, pewter, zinc, bronze and stainless steel. At the same time, we also considered the practicality of the finish that we were applying; aware of the potentially debilitating impact of extreme heat and water penetration. We then moved on to assess suitability of finishes in different areas of the kitchen.
Design is always about more than simply making something look nice. But I have found that incorporating these metals, and researching the different finish possibilities that each has, really does bring a unique quality to a kitchen.
Can you talk us through the Ledbury Studio design process?
The process starts with a design consultation during which we will review any architectural plans. If clients don’t have them, we will arrange a site visit so that we can measure their proposed space and chat about how best to maximise it. At this point we are able to start putting a conceptual layout together including hand sketches and some initial 3D spatial concept modelling and material selection, based on what we have already talked about. At the same time, we will also provide an initial estimate of cost (furniture, appliances, delivery and installation).
Once we have an agreement on the basic design, budget and quote, we move forward with floor plans, 2D elevations and a formal estimate. At this point we like to create material selection mood boards and also, as required, 3D renders, as this helps us really get to grips with how the design will look and work in the space.
Finally, we drill down to specific fascia finishes, and worktop and splashback materials. By now we want our client to have a real feel for the kitchen and how individual areas of the design are going to work.
How closely do you work with you clients to create the final design?
The best kitchens evolve from a design process that is a rooted in the ideas and interests of our clients, which then combines with the design expertise of the team. This process informs initial ideas on which materials are going to work best for the kitchen design.
A good example of this was on our Cheshire Kitchen. The design was influenced and underpinned by the client’s collection of pewter-ware, which had been collected over many years. Inspired by the material, we decided to incorporate quite a number of pewter doors on the kitchen cabinetry. We ‘hand-textured’ sheets of pewter, and applied a patina using acids to age it, finally sealing the surface with lacquer.
Where are your kitchens made and who do you work with?
Our kitchens are built in our Wiltshire workshop by a small team, who have worked with us for many years, from our Smallbone of Devizes and Mark Wilkinson days.
We also collaborate with a handful of talented artists and artisans: Emma Culshaw Bell, an artist and specialist painter who creates bespoke colours and finishes for our painted furniture, and designs and fabricates the Verre Eglomise incorporated into our kitchens; Quentin Reynolds, the craftsman behind our pewter door fronts; and George Winks who carves wood beautifully. We have worked carefully, on a project-by-project basis, to incorporate these elements into our furniture.
What’s the best part of your job?
It’s the enjoyment that comes from working with talented people, bringing designs to life and creating furniture that inevitably is more complex as a result of that teamwork. For me, an open and collaborative process is always infinitely more satisfying than working solo. Of course, the process needs structure. But it’s important to try to maintain enough freedom to be flexible. That way, if something unexpected and good arises, we can work to incorporate it in the final design. This is really what I love about my job – to watch the evolution of an idea, and then to see the finished result in someone’s home.
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