Fable Garden is one of the most representative designs in the collection. Folk-inspired and richly narrative, it features stylised flora, birds, lions, and vases of flowers, all set against a painted wood-grain background. To fully understand how the design should feel, I painted it directly onto wooden panels, joined them together, and sanded the surface back to create a worn, time-softened effect. This process allowed the brush marks and grain to interact naturally, giving the wallpaper a sense of depth and age that would have been impossible to achieve digitally.

Arber Stripe takes motifs derived from Chamba Rumal and reinterprets them as a simplified floral stripe. The hand-painted design wriggles vertically down the wallpaper, combining floral elements with dots and small-scale geometric details. The layout was reworked many times before settling on a rhythm that felt both structured and relaxed. Limited to four colours, the design is intentionally versatile, offering quiet interest rather than dominance.

Haresfield Walk celebrates British woodland life. Hand-painted hares, partridges, deer, moths, snails, ducks, herons, and insects are nestled among flowering leaves. Inspired by walks through the countryside, the design is rich in detail yet softly patterned. Painted in gouache and outlined with fine lines of paint, it retains a lightness that allows the imagery to sit gently on the wall.

Noise Next Door was inspired by a neighbour’s garden, alive with birdsong and movement. Flowers, fruit, and birds are woven through foliage in a lively, generous repeat. Painted in gouache, each element was worked individually before being carefully outlined to enhance clarity and depth. The high repeat ensures the design reads beautifully across large expanses, maintaining balance despite its abundance.

Brushwood is a sister design to Hedgerow from a previous collection. While the composition remains similar, the rendering is intentionally more graphic and pared back. Different species of British trees were hand drawn, but texture was deliberately reduced to create a cleaner, more architectural option. This design reflects my interest in offering alternatives within a collection: the same idea expressed through different finishes.

Potter Stripe draws inspiration from hand-painted ceramics and traditional painted furniture. Floral motifs are arranged in structured vertical repeats, painted directly onto wood and sanded back to create a subtle texture. The movement of the leaves came naturally, guided by brush rather than strict geometry. The design is available in five carefully curated colourways and is also offered as fabric.

Rubia evolved directly from Potter Stripe. Cascading, hand-painted wiggles flow rhythmically down the wallpaper, adorned with delicate flowers and leaves. The motif was painted onto wood to capture grain and texture, then sanded back before being developed into repeat. It is intended as a softer, more understated pattern, ideal for layering within interiors.

Butterflies is a playful, hand-painted design featuring butterflies and insects painted onto wooden panels to create a fresco-like surface. Inspired by Italian fresco painting, the background includes subtle cloud textures rather than flat colour. Working from photographs, I deliberately altered proportions and markings to avoid overly naturalistic repetition, allowing the design to feel imaginative rather than illustrative.

Letti is a delicate floral design interwoven with lace-like details, inspired by historic lace and devotional paper works. Painted motifs are given a subtle shadow to create a gentle three-dimensional effect. Careful colour selection was essential here, ensuring the design remains light and versatile while retaining structure and depth.

Giraffes features tall, hand-painted giraffes standing among long blades of grass. The layout was first resolved in pencil before every blade of grass and every giraffe marking was painted by hand. Offered in two colourways, one soft and one bolder, the design balances scale with calm repetition.

Finally, Masako is inspired by the meticulous patterns found in origami papers and is named after my aunt, who gifted me magical stationery in childhood. The design was first drawn in pencil at a small scale, then enlarged and redrawn to allow for confident, bold shapes. Subtle background patterning prevents flatness, while the repeat scale creates strong visual impact. Both light and dark colourways emerged naturally from the process.