How does a graduate in anthropology end up as a decorative artist?


I actually think my degree is very relevant to my work, as it was ultimately about research, which forms a huge part of my design process now. My university thesis charted the evolution of humanity through the evidence of art in material culture, with tools becoming ornate beyond the functional, and caves becoming adorned with paintings of wild animals and creatures. It is extraordinary that as long as 60,000 years ago, when life would have been difficult and constantly under threat, humans felt a desire to decorate their spaces for purely aesthetic reasons. In my mind, it shows the importance of our surroundings in how we feel. In my work now, I aim to create a dialogue that stretches from the history of the building, to the surrounding landscape, allowing for a palpable humanity in each project. We draw on many historical references in any one project, which I like to think gives them a timeless quality.

Could you tell us who or what has been your biggest inspiration?


There are many, but perhaps May Morris, both for her designs for Morris & Co. and for her advocacy for design that was based on a knowledge of history, a reverence of the natural world, and a respect for craft. She was talented and pioneering for her time, and has until recently been overlooked, which many women of her time sadly were.

Could you walk us through your creative process when tackling a new project?


Painting a bespoke commission, whether a mural or a piece of furniture, is a very organic process. Clients may come with an idea or an open brief, and after initial discussions I share references and mock-ups to guide the direction.

Murals always respond to the architecture of the room, often evolving during the painting stage. I like to weave in colours and textures from the space so the design feels part of its story. My wallpaper collection often grows out of these projects, with all our papers printed in Lancashire using techniques that preserve a hand-painted quality. For me, the joy is always in the process.

What has been your favourite commission to date?


We recently painted a garland of wildflowers around the octagonal ceiling of the 18th-century Orangery at Frampton Court in Gloucestershire. Inspired by the Clifford sisters’ botanical studies, the ‘Frampton Flora’, and flowers still growing on the estate, it was a dream project and a huge honour to work in such a historic space – and it’s wonderful that people can stay there and enjoy it.

If you could collaborate with any designer, artist, or maker, who would it be and what would you create together?


I'm excited to be collaborating with Volga Linen in the spring, on a collection of embroidered linen trims. I often paint decorative borders in my work, and seeing my designs reimagined by such a respected company, using the most beautiful, sustainable fabrics, is very exciting. They have been wonderful to work with.

What’s next for you creatively and professionally?

We have our own collection of fabrics launching soon, both printed and embroidered linens to match our bestselling wallpapers. We also have a new wallpaper collection launching in September called Indienne, inspired by French textiles of the 17th and 18th centuries, which were influenced by Indian chintz fabrics. The collection has been a labour of love and I'm very excited to launch it.

Where do you source inspiration - shops, galleries, walks?

I'm a magpie and find ideas wherever I go - fabric remnants from antique markets, patterns used in historic country houses, and nature is my biggest source of inspiration - the flowers and foliage in our garden, and growing around us in East Sussex. A favourite local market is Ardingly once and month, and Parham House has a glorious mural painted by the set designer Oliver Messel. It's an inspiring part of the world!

Is there a seasonal event or festival you look forward to each year?


I adore Lewes Garland Day, which falls around May Day. A local all-women Morris troupe called formed in 1974 called The Knots of May dance from Lewes Castle down Lewes High Street, with local children following behind in procession - the dancers with their garlands made from pleated ribbons, and the children with theirs made from foraged flowers and foliage. It's heaven!

Where do you escape to when you need quiet time?

I climb the hill right behind our house whenever I can, usually early morning or late evening. Both work and home can be demanding - I have a team of 10 people in the studio, and 3 very noisy children at home! - and the hill is my sanctuary. I've worked through most problems or creative blocks while sitting at the blustery top, looking down at the vast landscape below. I find being alone in nature very meditative.