A way with flowers

02 Mar '15

Karen McCartney writes about the power of flowers, both as decorative device and mood-lifter.  

What is it about the ability of flowers to elevate the mood?

I love to watch them transition through their various incarnations, from fresh and upright, through the elegance of the gently drooping stage, to the fully-fledged wilt. Even when money is tight I like to buy a big potted orchid which lasts for months and then when decamped to the garden, and somewhat neglected, occasionally sprouts a surprise stem heavy with blooms.

Flowers are one of life’s great decorating devices as they bring life and a sense of creative care to any room.  Depending on the selection of flowers and the choice of vase, they can galvanise a room with an injection of colour, texture, form and often scent. I am far from skilled at arrangements and that is why I was particularly fascinated to see how Saskia Havekes of Grandiflora approaches the task.

Saskia is a star in the world of floristry, not just because of her talent, but because of her personality, and it is therefore no wonder she has a roll call of celebrity clients. Every meaningful event in my life since living in Australia, from the birth of my daughter to a new job, has been marked with a bunch of blooms from Grandiflora and so, like Pavlov’s dog, I associate them with the happiest of times. My approach to arranging, when I receive a bouquet, is to try to wrangle it into a vase without disturbing its fundamental composition. Not so much arranging as placing.

So, on a practical front, here at Temple & Webster, Saskia took us through a few basic rules. It is a 101 in the art of arranging and here are the simple steps for all us novices to follow:

  • Start with a solid base of one kind of flower or foliage – think of these as the ‘bones’ of your arrangement – before adding your more special blooms;
  • Think of your arrangement as a landscape and aim for a few different layers and heights. Don’t cram your flowers together; give them room to breathe;
  • When long stemmed flowers are past their best, revive them by cutting them right down and placing into a low vase with new water – perfect for a table arrangement.

Watch Saskia in action, and read all her tips on flower arranging here.

 

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From Anneka Manning’s popular book Mastering the Art of Baking, and without judgment, we bring you a recipe for Jam Doughnuts, thanks to eatlove.com.au

A version of the berliner (also called bismarck and krapfen), a type of doughnut popular in Germany and Central Europe, these jam-filled treats are not hard to make, though it is hard to stop eating them!

Ingredients (makes 12)

185 ml (6 fl oz/¾ cup) lukewarm milk
55 g (2 oz/¼ cup) caster (superfine) sugar
10 g (¼ oz/3 teaspoons) dried yeast
3 egg yolks
375 g (13 oz/2½ cups) plain (all-purpose) flour
1 teaspoon salt
100 g (3½ oz) butter
85 g (3 oz/¼ cup) raspberry jam
1.25 litres (44 fl oz/5 cups) vegetable oil

Preparation

Combine the milk and a large pinch of the sugar in a medium bowl. Sprinkle over the yeast, then set aside for 5–6 minutes or until foamy. Stir in the remaining sugar and the egg yolks and mix until well combined.

Combine the flour and salt in a large bowl. Use your fingertips to rub in the butter until the mixture resembles fine breadcrumbs. Add the milk mixture and use a flat-bladed knife to stir until a coarse dough begins to form. Turn out onto a lightly floured work surface and knead for 5–6 minutes or until a smooth, soft, elastic dough forms. Place the dough in a lightly oiled bowl, turning to coat in the oil. Cover the bowl with plastic wrap and set aside in a warm, draught-free place for 1 hour or until doubled in size.

Knock back the dough with just one punch to expel the air, then turn out onto a lightly floured work surface. Divide into 12 equal portions. Roll each portion into a ball, then flatten slightly. Place on a lightly greased tray or board, allowing room for spreading, and cover with a tea towel (dish towel). Set aside for 40–50 minutes or until risen (they will not quite double in size).

Heat the oil in a medium saucepan until 160°C (315°F) or until a cube of bread dropped into the oil turns golden brown in 30–35 seconds. Cook the doughnuts, in batches, for 8 minutes or until deep golden and cooked through, turning once during cooking. Use a slotted spoon !! to transfer onto paper towels to drain and cool.

Put the jam in a small disposable piping (icing) bag fitted with a small plain nozzle. Push the nozzle into the side of the doughnuts and squeeze a little jam into each. Roll the doughnuts in the extra sugar to coat.

See more at eatlove.com.au where you can follow your favourite chefs, share their recipes and order their books.

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For the third year in a row, T&W co-founder Adam McWhinney is taking part in OzHarvest’s CEO Cookoff on Monday 2 March at Carriageworks in Sydney. This initiative raises much-needed funds for OzHarvest’s work, as well as awareness about the issues of food security, homelessness and the challenges faced by youth in crisis.

Adam will be part of a group of around 120 CEOs and celebrity chefs cooking a meal for around 1000 people in need. “Sharing a meal with family and friends (or even strangers who become friends!) is one of THE great pleasures of life. To have the opportunity to cook for people who are both deserving and in some cases in need of a meal is so rewarding,” he says. “I love food, cooking and eating, and if I can be part of an event that celebrates this, and raises money for the great work that OzHarvest does, I’ll show up every year!”

In 2014 OzHarvest raised over $1 million dollars. Every $1 donated allows them to deliver the equivalent of two meals to those in need. All donations above $2 are tax deductible.

We’d be very grateful for any support you’re able to give – you can sponsor Adam here.

Find out more about the event, and OzHarvest at www.ceocookoff.com.au - or you can go straight to Adam’s sponsorship page here

 

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We came, we saw, we Instagrammed. Karen McCartney and Victoria Baker find the best of this year’s Life Instyle trade fair.

(Left) The new bedlinen range by Aura Home does not disappoint, with a mix of neutrals and brights and on-point details. We loved this knitted throw in graphic black and white with a delicate blush border.  (Right) Handmade ceramics by Melbourne brand Marmoset Found feature a glossy glaze inside and a matte exterior.

(Left) Dedece used a black background, the better to show off Tom Dixon’s accessories range, including the brass plated Cog Collection.  (Right) Seletti Australia were showing off a range of astronomy-inspired plates, part of a collaboration with Diesel Living recently shown at the Maison & Objet fair in Paris.

(Left) A range of resin tableware in muddy neutrals caught our eye – from a distance it had the appearance of stoneware. (Right) Garden Life‘s stand provided a welcome oasis of greenery and a range of instantly-covetable pots – enough to give anyone the illusion of green thumbs.

(Left) DNC International’s range of jolie-laide scarves by Inoui Toosh Paris are hand-made in India using traditional techniques and feature quirky clothing designs. (Right) Megan Park showed a cushion range included her signature finely beaded decorative styles, and some geometric patterns.

(Left) Telegram Paper Goods created a highly immersive experience with a hessian-enclosed stand featuring key Danish brand House Doctor’s highly desirable desk equipment. (Right) Tribe Home debuted a new range of tactile wool rugs, and some crafted from recycled sari silk. Shoes were removed and toes were wiggled. Enough said.

Follow Life_Instyle on Instagram to see more of this year’s newest products.

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It was a wonderful moment in the T&W studio when Saskia Havekes of Grandiflora arrived with a van full of flowers. She is a florist of considerable note, and her small Potts Point store is a mecca for those in search of beautiful and thoughtful arrangements, whether for a huge event or a personal celebration. We asked her to share some tips on working with three different vase shapes – all are available in today’s In Bloom sale event, along with Saskia’s inspiring booksWatch our video above, or read on for more detailed tips and a close look at Saskia’s work. We predict a pinning frenzy on these images!

Saskia has been visiting the flower markets for over 20 years, as well as creating weddings, events, installations and many, many individual bouquets. Her favourite flower is (of course) the Magnolia Grandiflora after which her business is named, and her pet hate is dirty water. We asked her first for a few basic tips applicable to whatever flowers or vessels you’re working with, and then for advice on working with round, squat and cylindrical vases.

  • Cut at least 3cm off the stems of cut flowers or foliage when you get them home from the market or store, and strip away any greenery that would be under the water line in your chosen vase.
  • Change the water in an arrangement every 2 – 3 days. It’s easiest if you have two people – one to hold the arrangement and one to empty and refill the vase with cold water. Take this opportunity to pick out any dead flowers.
  • Long stemmed flowers which are a little past their best can be revived by cutting the stems much shorter (this makes it easier for water to travel up the stem). Rearrange in a low vase and you should get an extra 3 – 4 days out of them.
  • If you’re not a confident arranger, start simply with masses of one kind of flower. Always make sure your arrangements look generous, and take time to separate and spread the flowers and stems so they have room to breathe.
  • Don’t fill the vase right up to the top – it’s not necessary (and not elegant!). Do make sure all your stems reach the water level.
  • If you don’t like the pollen on lilies, pick of the anthers (little stems inside the flower) before they are coated with pollen. If you leave it too late and get pollen on clothes or fabric, start with sticky tape!
  • If you’re having a party or celebration, recut and change the water of your arrangements on the day – they tend to lose energy over time and this will revive them.

1.    The sphere

Flowers used: Celosia, Prospero roses, ranunculus, pink hydrangea, variegated sweet pea

  • Choose flowers or foliage as a base – think of these as the bones of your arrangement – and tie them together to form a strong, supporting anchor.
  • Arrange more beautiful blooms higher, to make a feature of them. Think of your arrangement as a landscape, and include a variety of layers and heights to give the eye somewhere to travel.
  • Remove thorns from roses using a rose stripper (available from florist supply stores), or a tea towel. Don’t be too rough or you’ll damage the stems.
  • Remove any marked or imperfect petals or leaves. Check your arrangement regularly and cut out any flowers which are past their best.

2. The pail

Plants used: Pomegranates, pepper tree, pink and cream flowering gum, hydrangea

  • Use the lip of the vase as a support and lean stems against it. Trailing foliage works well when it has somewhere to rest.
  • Use the height of the vase as a guide for the length of the stems, and always cut a little longer than you think. It’s easier to re-trim but impossible to extend!
  • Don’t be afraid to snip off a few leaves to better display flowers or berries. Flowering gums may need a little cleaning up – the caps look striking and sculptural even without the fluffy stamens.
  • You could recreate this arrangement with foliage from your own garden and a few store-bought blooms. Natives (and foliage) will generally last longer in the vase than cut flowers.

 

3. The cylinder

Plants used: Lotus, trailing amaranthus, Phalaenopsis orchid, palm leaves

  • Always cut stems on an angle so they don’t sit flat against the vase – this means it’s easier for the plant to drink.  Cutting some shorter allows for a variety of heights.
  • Allow the flowers room to breathe, don’t cram them in. Flowers are always more beautiful when they are arranged loosely, in a natural way.
  • For this style of vase, it’s best to keep your arrangement simple and sculptural. The trailing plant helps to hide the vase – it’s in a supporting role, not the star. Tall vases are inclined to blow over, so place them somewhere safe.
  • Tidy up the edges of leaves if you need to. Large palm leaves work as a strong base, and can also be used to support (and show off) more delicate flowers.

Cinematography by Natalie Hunfalvay. Set styling by Jessica Bellef. Music via www.bensound.com

Shop our In Bloom sale event for vases of every shape, and inspiring books on flower arranging.

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Portrait by Studio Sixty Photography 

We are thrilled to feature the photographic prints of stylist, adventurer and travelling wares retailer Kara Rosenlund as the second artist in our Australian Art Series. We’ve long been fans of her aesthetic, and keen followers of her Instagram feed (she’s @kararosenlund), so we were excited when she started to make a few of her prints available online. Here Karen McCartney asks Kara about the way she works and her relationship with her subject matter – and Kara also shares a few images from her travels. We hope you’ll take the chance to explore our online gallery and acquire a print for your home

How do you want people to feel when one of your photographs goes into their home?

I want them to feel excited and proud to own a piece of original Australian artwork. I hope at certain moments within their own journey with the artwork they get the chance to feel truly lost within the work, lose themselves for a couple of minutes, discovering new things they hadn’t perhaps seen before. That’s what I hope for the most.

This shot sums up how I feel about travelling around Australia; I find the light and atmosphere of the journey intoxicating.

Do you know that moment when you have a shot that is a winner?

Absolutely; you always know when the elements come together and you are given something special. Every photographer seeks those moments out – when you are connected to what you are shooting it’s impossible not to feel the knowing buzz of that moment when it all comes together.

I’m always picking up old bits while I travel around, I always come back with more than what I started off with.

You capture the beauty of the Australian landscape. Does looking at it through a lens make you appreciate it more?

The way I have always seen the Australian landscape is by feeling the emotion of it.  I’ve always had an appreciation for the colour palettes of the land and the changing landscapes, though I hadn’t been drawn to capture it until recently. Through understanding the emotion of the landscape that somehow unlocked a way for me to document it in a different way that perhaps hadn’t been celebrated before.

I shot this on Australia Day and I think it really does sum up how I feel about the landscape, you can drive for hours and see nothing, yet see everything at the same time.

You have great empathy with animals from the majestic beauty of a horse to the quirky appeal of a chicken. Where does this appreciation come from?

I think its because I have a natural curiosity and a big heart for animals; there is an honesty when you interact with animals. I draw so much inspiration and appreciation from nature. I’m that person who is shoving lost dogs into the back of my car and rescuing injured animals.  Nature just tops me up in a way that I don’t find anywhere else, it’s a pure primitive relationship.

I was travelling through rural Victoria when I glimpsed this little caravan at sunset. Even in its decay there is still so much charm.

Light is the best ingredient in your images – is an understanding of its capricious nature central to your work?

Indeed it is. The way I handle my light is again from an emotional place. I like to approach all my work as though I’m documenting a space or a landscape. Documenting seems to have become overlooked and replaced by styling. I don’t want to alter what is happening, I want to strengthen the atmosphere so others  looking at my work can feel as though they, too, are within the environment.

Pulling in the cray pots off the Tasmanian East Coast – one of my favourite places in Australia; it offers so much diversity and richness within the landscape. If I could live anywhere it would be here.

A cray being sized up, ensuring it wasn’t a female.

The hearth of the house. I love seeing these, so stark within the landscape to show what still remains, after so much has left.

The boards in the back of the EH by the ocean; this is Australia.

I had to pull over and shoot this little house with the single palm tree, the freedom of this property was captivating.

Simple and humble. A dinner of fresh mussels, collected off the rocks and streamed in salt water.

An everyday view which I see most days while travelling; there is something honest in the familiarity of it.

In an apple pickers cottage in Tasmania, just the bare essentials and not much else, though still comforting.

Such beautiful decay; what always impresses me about such sites is the power of the elements of nature; haunting lack of life.

Follow Kara via her website or on Instagram @kararosenlund

Explore our online gallery of Kara’s work today.

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In a new series, Natalie Walton, creator of the recently relaunched Daily Imprint, revisits a few of her many interview subjects to find out about their continuing creative journeys.  To kick off: architect, designer and homewares innovator Marika Järv (pictured above). 

It’s been almost eight years since Daily Imprint was launched. During that time I have interviewed more than 1000 people in the visual arts – from artists to designers, photographers to writers and architects to florists. The site is about to be archived by the National Library of Australia, which is a huge honour. After relaunching the site recently, I thought it would be interesting to revisit some of the interviews from the early days and learn how these people have progressed on their creative journeys.

Meet Marika Järv, architect and designer. She was originally featured on Daily Imprint on 17 March 2009.

Marika’s own Avalon home.

You were featured on Daily Imprint at the start of 2009 and at the time we featured your Print Dolls “All Stops To” prints, which went on to be copied all over the world. What was that experience like and why did you decide to do another art series with “Wall of Sound”?

Oh gosh yes, the “All Stops To” destination scrolls were copied everywhere. I’ve even seen destination scrolls printed on beach towels and surf rash vests! Look, I can laugh about the copycats now, but at the time it was admittedly a bit heartbreaking. The worst thing was that the copies were so poorly done, and once they started flooding the retail stores, people would think they were my designs and I’d be like “Noooooo! Please don’t think that!” There were numerous examples of others not only copying my work, but then blatantly lying about it, which I found totally bizarre. You know, it’s bad enough to steal/copy another’s work, but to then not even have the decency to admit it… However, my approach has always been to learn from negative experiences, and so those incidences simply reinforced how important it is for me to live life with honesty and integrity.

As for “Wall of Sound” (pictured above), it started out as a game, and then turned into a concept I dreamt up not long after “All Stops To” was released. Before kids, one of my favourite pastimes was attending music festivals – and this piece was envisaged as a homage to all the super-fun times I’d had frolicking around at them with my friends. I guess I thought Wall of Sound was an amusing, clever little idea, that was worth sharing with all the other music lovers out there.

You trained as an architect, and have always worked in this field, what do you enjoy about this type of work? Is this your first love?

Yes, architecture is definitely my first love, creating prints has always been a side project for me. After high school I knew my career had to be creative, but I also wanted to be able to use my technical side – yes, the nerd in me loved maths, as well as art. Thankfully I ended up being one of those lucky people who loves their work. I really missed it when on maternity leave. Architecture is such a diverse, complex profession – it’s so rewarding. There is obviously the creative side, but I also really enjoy the problem-solving aspects, and being logical; you have to be able to see the project as a whole, even whilst designing the tiniest detail.

Marika designed this North Bondi bathroom with rendered walls, polished concrete floors and recycled timber benches.

Previously you spoke about your role in the architectural firm of Peter Stutchbury – does that time continue to influence your aesthetic? Or has a new one emerged? And how would you describe your style?

Working for Pete was a huge blessing, he’s such a generous teacher, and will forever have an influence on my work. There are fundamental principles I learnt from him – like the importance of the connection between the inside and outside environments, and the use of a restrained material palette – that will always apply to my projects. Pete is such an original thinker though, and is not at all concerned with trends, whereas I have to admit to my fondness for fashion, so that can’t help but spill a little into my work. Living by the beach has always influenced me, so I’d describe my style as pretty relaxed and understated, but with a deep appreciation for thoughtful and beautiful design, as I do like a bit of luxury. Our own home is very white, with hits of black, along with pale timbers and coppers for warmth, and lots of plants for greenery.

How much role do you play in creating interiors for clients? What do you consider to be important about the balance between architecture and interior design? 

Architecture is never only about the shell of a building; what’s inside is just as important. When I’m in the initial spatial planning stage, I always imagine how a space is going to be used, where the furniture will be placed, how the occupants will walk around the room, and the relationship to the outside, which in turn influences the location of openings, light and structure. My role with interiors depends a little on the job, however I always try to be involved with the selection of fixtures and finishes. I believe the most successful projects are those where both inside and outside have been considered as one. For example, my current project is the refurbishment of an existing property in Mosman, where the majority of work involves the complete overhaul of the interior. However, the re-planning has also generated changes to the entry, other openings, roof and landscaping.

An Avalon kitchen designed by Marika.

What are your current career goals?

After recently purchasing our first home, I’ve become quite inspired to offer clients a service where their project is dealt with as a totality – that is, in addition to architectural services, to also assist with the finer details, such as the selection of furniture, soft furnishings and artwork – allowing for the design aesthetic to be truly considered, cohesive and refined in its entirety. I’d also like to start doing some commercial work, a wine-bar or restaurant would be fun. I’ve previously designed the graphics for a close friend’s restaurant, and it’d be great to combine something like that with the architectural side of things as well.

Images courtesy of Marika Jarv

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Karen McCartney writes about enchanting emerald. Shop our Emerald Green Collection this week or follow our Going Green Pinterest board for inspiring interiors, including this Sydney apartment shot by Prue Ruscoe and styled by Steve Cordony for Belle.  

What is it about certain colours? One minute we wouldn’t dream of giving them the time of day and then, suddenly, they are everywhere – like a rash. Take yellow. It started with a bentwood chair here, a geometric cushion there, and before you knew it no self-respecting interior was complete without a substantial hit of this cheery shade.

Well, as the sun goes down on yellow, its equally positive cousin emerald green is in the ascendant. I know this because I have seen photographs of Cameron Diaz’s kitchen, created by the queen of interiors Kelly Wearstler, with its cabinetry of custom lacquer in a rich emerald green.

Now I am a tonal person myself, as noted by a friend of my young daughter. “Your house is so, ummm, brown,” she said.  It is actually many and varied textural shades from stone to chocolate, but no matter. So while I approach colour with caution, I find myself somewhat seduced by this shade.

Image via Pinterest

Its most impactful use is a painted wall, and Rowena Judd from Murobond Paints explains its effect: “Emerald is intense and inviting. While most suitable for those confident with colour, given the right shade – in a slightly greyed-off emerald, such as The Society Inc. Oceanforest, it can create the perfect back drop for a neutral decorating palette.”

My one item in emerald green is a velvet bed throw with a reverse in ecru linen. It was bought from Edit, a store belonging to ex-Vogue Living editor Sharyn Storrier-Lyneham, so when it comes out in winter it makes me feel adventurous and, now, up-to-date.

It is also a colour to be used judiciously to ‘lift’ a room rather than for a complete fit out. A deep pile velvet armchair, a malachite slab as a decorative feature (very now), a feature wall of plates or a series of patterned cushions will do the trick. If there is greenery outside your window it has the effect of visually linking the indoor and outdoor space.

Now, move over yellow.

Shop our Emerald Green Collection this week 

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Kylie Kwong is one of Australia’s best known Chinese-Australian chefs, and the owner of Billy Kwong in Sydney as well as a longtime advocate of sustainable food and ethical eating. In the week of the Lunar New Year, we’re sharing a fresh, tasty and textural dish from her book Kylie Kwong’s Simple Chinese Cooking Class, thanks to eatlove.com.au 

A wonderful dish for vegetarians, with endless variations: you could add corn kernels, freshly shaved from the cob, at the same time as the beans and celery; you could include any number of fresh herbs; or you could substitute any kind of fresh mushrooms for the braised Chinese mushrooms. Just make sure your iceberg lettuce cups are well-chilled and super-crispy.

Ingredients (serves 4-6 as a starter)

1 small iceberg lettuce
2 tablespoons light soy sauce
1 tablespoon malt vinegar
1 teaspoon brown sugar
1⁄2 teaspoon sesame oil
2 tablespoons peanut oil
5 cm × 2 cm knob (20 g) ginger, roughly diced
2 garlic cloves, roughly diced
1⁄2 small red onion, finely sliced
4 Braised Chinese Mushrooms, stems removed and finely sliced
80g green beans, trimmed and finely sliced
2 sticks celery, trimmed and finely diced
2 tablespoons shao hsing wine or dry sherry
1 Chinese cabbage leaf, finely shredded
1 small carrot, cut into fine julienne strips
1 small cucumber, cut into fine julienne strips
45g (1⁄2 cup) bean sprouts
1⁄2 bunch garlic chives, cut into 5 cm lengths
sliced large red chilli, to serve (optional)

Preparation

Cut out and discard the core of the lettuce, then soak the entire lettuce in cold water for 1 hour (this will make it easier to pull apart the leaves). Drain well and separate leaves. Cover and refrigerate until ready to serve.

Combine soy sauce, vinegar, sugar and sesame oil in a small bowl and set aside.

Heat peanut oil in a hot wok until the surface seems to shimmer slightly. Add ginger, garlic, onion and mushrooms and stir-fry for 1 minute. Add beans and celery and stir-fry for 1 minute. Add wine or sherry and cook for 30 seconds. Add soy sauce mixture and stir-fry for 2 minutes or until sauce is slightly thickened. Add cabbage, carrot, cucumber, bean sprouts and garlic chives and stir to combine. Remove from the heat.

Using a slotted spoon, remove vegetable mixture from wok, draining well so that any juices are left in the wok. Serve in a bowl set on a large platter, accompanied with lettuce-leaf cups. To eat, simply spoon vegetable mixture into lettuce cups, roll up to enclose and eat with your fingers. Serve with sliced chilli, if you like.

See more at eatlove.com.au where you can follow your favourite chefs, share their recipes and order their books.

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Taking a leaf from our out of our Emerald Green Collection, Karen McCartney pins her favourite emerald interiors. Check out our Pinterest board for 80+ more inspiring ideas.

“The emerald green wall finish with the indigo blue, spotted sofa and the harmonious hues and texture of the rug create a welcoming space,” says the Decor8 blog - and we agree. The wall has a slightly mottled finish which gives it a more artistic, nuanced feel. The choice of portrait, vase and coffee table have the air of found objects which decoratively enhance each other. Image via Anthropologie.

These iridescent green tiles, used as a kitchen splash back, have a rich luxurious appeal, while remaining practical. The introduction of blue glass, and natural objects, is a classic combination as it recalls a natural landscape of sky and green fields. This interior is designed by Karl Fournier and Olivier Marty of Parisian architecture and design firm Studio KO.

The emerald green in this room acts as as a counterfoil to the artfully arranged artworks which have an organic, loosely assembled feel. This tonality is further extended to the timber of the simply constructed sideboard stool. The enamel lamp in green and the glass bottle draw the eye linking the background and foreground. Photograph by Louis Lemaire, via Remodelista.

There is nothing quite like seeing a trend played out in a celebrity space, especially one as personal as the kitchen. Uber American interior designer Kelly Wearstler has specified bespoke kitchen cabinetry in a rich emerald green teamed with the luxury of a brass splash back for a kitchen in Cameron Diaz’s Manhattan apartment. Image via Elle Decor.

This is an interesting use of green in the context of a bright white room. The verticality of the wall has been used as a surface to showcase an array of plates which mixes patterns and plains. In contrast the table plane is a confident statement in solid glossy green teamed with chairs in the same shade. It is a consistent style message which mixes clever placement with a play on one colour. Image by Eric Laignel for interiordesign.net

The play of varying greens works to great effect. The darker tones of the painted woodwork and the natural variegated shades of the plants are enhanced by the punch of intense colour from a bright emerald green upholstered chair. The modernity of the chair’s shape and solid form bring a contemporary touch to a conservatory setting. Image via Ikea.se

Green with envy? Explore our Emerald Collection today.

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