One of the most cost efficient ways to evoke the character of a specific historical era in your home is by using heritage colour palettes. These timeless shades, rooted in the aesthetics of the past, bring authenticity and elegance to modern interiors and contemporary homes. In this post I’ll explore the typical colour palettes of key design periods, how to apply them in your own space, and what to consider when selecting paint finishes and surfaces.

Typical Colour Palettes of Key Periods

Georgian (1714-1837): Subtle Sophistication

Georgian interiors are often renowned for their restrained and elegant colour schemes. Popular shades of creams, muted greens, and dusky blues reflect the Georgian love for balance and harmony, reflecting their love of classical architecture and natural landscapes. However many homes were also decorated with deep reds, vibrant greens or rich mustard – inspired by the Italian Baroque homes visited by designers and home owners during their Grand Tours. Gilt and marble were used with extravagance.

Victorian (1837-1901): Dramatic and Rich

The Victorian era embraced deeper, richer hues, reflecting advancements in paint technology and mass production of wallpaper. Popular colours included dark greens, burgundies, plum, deep blues, and warm browns, often paired with intricate patterns in wallpapers or tiles. Jewel tones were used to convey opulence. The influence of the Arts and Crafts movement in the latter part of this period saw the softer nature-inspired tones like sage green, buttercup yellow and dusty rose incorporated into the designs of William Morris and his contemporaries. Certain aspects of this Movement (the simple lines and restrained decoration) anticipated the open, unfussy style of Modernism.

Edwardian (1901-1910): Light and Airy

In contrast to the Victorian period, Edwardian interiors leaned towards lighter and fresher palettes. Sweet-pea colours of lilacs, soft pinks, light blues and pale green were popular for wall paint and small pattern wall papers, and whites dominated on ceilings and woodwork/trim. These colours suited the era’s preference for bright, open spaces with a nod to simplicity and elegance – this was, after all, the period of Crittal windows (the steel framed black grid windows so popular now).

Scandinavian heritage (19th & early 20th century): Muted and Moody

Scandinavian heritage homes are characterized by a combination of light and neutral tones, such as whites, soft greys, pale blues, and muted yellows, as well as bold, dark colours like deep reds, forest greens, and rich blues. These darker shades were often used in dining rooms or parlours to create warmth and contrast during long winters while still harmonizing with the light, airy tones seen elsewhere in Scandinavian homes.

Art Deco (1920s-1930s): Bold and Glamorous

The Art Deco period brought a vibrant shift, with striking combinations of black, gold, silver, and jewel tones like emerald green and sapphire blue. Pastel shades such as peach and mint green were also popular, creating a sense of luxury and modernity. High contrast and geometric patterns were key to this style.

European and American Modernism (1920s-1940s): Cool and Glossy

The modern materials and construction methods that gave rise to open-plan living also saw minimalist interiors for the first time. Walls were unembellished with moulding or panelling and painted white or in neutral colours to provide a blank canvas for modern art and large expanses of glazing. With the popularity of polished chrome and steel, plywood cabinetry and furniture and concrete floors, this is an era of pale and cool colours.

Applying Heritage Colours in Today’s Homes

Bringing heritage colour palettes into your interiors doesn’t mean replicating period decor exactly. Instead, you can use these palettes as inspiration, adapting them to suit contemporary tastes and lifestyles.
But if you do have a period home and want to honour its historic interiors, the cheapest and easiest way is to use heritage paint colours on walls, ceiling, and trim.
Various paint manufacturers are known for their period colours – Farrow & Ball, Edward Bulmer and Little Greene amongst them. Other brands have heritage ranges, including Dulux Heritage and Benjamin Moore’s Historical Colour Collection.

To seek inspiration for colour combinations, look to the art, wallpapers and fabrics of those periods – and where possible, visit historic properties (be those residential or civic buildings), the V&A Museum, London’s Museum of the Home. For inspiration based on how others are decorating their British period homes, drool over the properties selling with specialist estate agent Inigo (be prepared to lose at least a couple of hours on their website!).

Paint the Walls with Conviction

Introduce period colours through painted walls, doors, cabinetry, or trim. Be brave and go for more than a feature or accent wall – these were not a period feature (the era of TV’s Changing Rooms may seem historic, but not in this context!) Commit to all walls in a room if you can – but if that’s not possible, perhaps paint a wall of built in bookcases or period-style panelling in your colour of choice and the remaining walls in a complementary or paler hue.

Highlight Architectural Features

Emphasize period features such as cornices, crown molding, skirting/base boards, or fireplaces by painting them in contrasting or complementary shades from the same palette. This approach enhances the character of your home without overwhelming the space.

Layering with Patterns

Combine heritage colours with patterns inspired by the period. Georgian stripes, Victorian florals, or Art Deco geometrics can be incorporated into wallpaper, window drapery, upholstery, or rugs.

Blending Old and New

Use heritage colours alongside modern furniture and fittings to create a juxtaposition of styles. A Mid-century modern teal sofa, for example, can look stunning against an Edwardian pale blue backdrop. For sources of vintage and period furniture see Where to Source Period Pieces in my blog post focused on this.

Paint Finishes and Surfaces: What to Consider

When using heritage colours, the finish and application are as important as the colour itself. Historical interiors often relied on specific techniques and materials that influenced the final appearance of surfaces. Here’s what to keep in mind:

Matte and Eggshell Finishes

Many period interiors featured matte or low-sheen finishes, which create a soft and authentic look. These finishes are particularly suitable for walls and ceilings in Georgian and Victorian styles.

Gloss for Woodwork

High-gloss or semi-gloss finishes were often used on woodwork, such as doors, skirting boards, and banisters, to create a polished and durable surface. This approach works well for highlighting architectural details.

Distressed and Textured Effects

To recreate an aged appearance, consider techniques like limewashing or using textured paints such as Crown’s Suede range. These methods add depth and authenticity, especially in rustic or country-style homes.

Surface Preparation

Heritage paints are best applied to well-prepared surfaces. Older homes may require extra care, such as repairing plasterwork or removing previous layers of paint, to ensure a smooth finish.

Eco-Friendly Options

Many modern paint brands offer eco-friendly heritage ranges with low VOCs (volatile organic compounds), making them a healthier choice for your home and the environment. These are also breathable paints which are a sensible choice for managing humidity levels in older homes.

Final Thoughts on heritage colour

Using historic colour palettes is a powerful way to bring character, depth, and a sense of history to your home. Whether you’re inspired by the soft sophistication of the Georgian era or the bold glamour of Art Deco, there’s a palette to suit every taste and interior style. By carefully selecting colours, finishes, and surfaces, you can achieve a look that pays homage to the past while remaining timeless and relevant for today.

Napoleon stated ‘the first virtue of a soldier is endurance of fatigue; courage is only the second virtue.’ I reckon he wrote that lesson after a battering and exhausting house renovation or remodel. These are fraught with decision fatigue, sleeplessness, being a prisoner of other people’s schedules. Your space is constantly invaded by an army of tradespeople or contractors. But to compound that reality, everyone else thinks you’re supposed to be enjoying this and you’re definitely looking forward to the end results. That last point feels difficult when a steady stream of slippages and issues sees a six week project entering its 14th week – and you’re still not clear when it will be over. It’s not the done thing to punch a well-meaning neighbour in the throat when they casually say ‘you must be so excited about it!’. At the risk of sounding all ‘first world problems’ the stress is real. So this post presents some of the lessons I’ve learned from renovations, which might just help you brace yourself for the stress, if not reduce it.

Lesson 1: Expect contractors to take shortcuts

Tradespeople will always take the path of least resistance – ie. do it the way that suits them/they’ve always done it/everyone else has it. This is, in my opinion, the most important renovations lesson to keep in mind. You will see how it interlinks with other lessons below. It’s also often the one you can sometimes forget and then be rudely reminded of too late, requiring either work to be redone or your design to be compromised. Remember that this is your vision and your home. You must be prepared to communicate and defend that vision to contractors, who will sometimes look at you in disbelief.

A few examples:

• Repositioning a newly hung radiator (baseboard heater) because the plumber assumed it should be positioned centrally under the window. That didn’t take into consideration the new cupboard going in the corner next to said window, which needs to actually open.

• A plasterer (or drywaller) being put out that you want him to create a rough and bumpy finish to match the rest of the ancient chimney breast, rather than the smooth surface he thinks everyone should want.

• Spending the weekend filling in numerous gaps between the wall plaster and floor because, contrary to ‘standard practice’, you do not want skirting board (or baseboard – which would have hidden the gap) on a rustic fireplace which has never had one before.

You need to know at least roughly, if not exactly, what you want, and communicate that in detail to all your contractors – they are not mind readers. Nor are they always right – they may have experience and know what works, but remember it’s always what works for them – you might want or need something different. Work with them to deliver that, or jointly find a suitable compromise if they genuinely feel your requirement will cause problems such as damp, excessive maintenance, cleaning nightmares etc.

Lesson 2: So. Many. Decisions

I actually enjoy the finer details, and believe the devil is in them. As the great Charles Eames said, ‘the details are not the details – they make the design’. So I can happily spend hours planning where best to put sockets/outlets, the shape and size of a banquette seat to avoid knee clashes, how high above the window reveal a blind should be positioned. But my God, you need to be prepared for the barrage of decisions needed on the spot – from ‘where do you want this (ugly) room thermostat positioned?’(sadly not in a cupboard) to ‘if you want that fireplace lintel raised, how are you going to support this end of the house when we remove these chimney bricks?’

Then there are the contingency-level decisions. By this I mean the important and usually unexpected decisions that are going to eat into your contingency funds. Often right at the start of the renovation. One of mine was discovering a floor substrate was damp – and a decision needed to either dig up the floor and a foot of earth beneath to lay a new 25 square meter concrete slab (expensive, time consuming, but resulting in a level floor with better insulation) or cover the existing floor with a barrier liquid and lots of self levelling (compromising the already low ceiling height, but quick and cheaper). Not an on the spot decision – I was given a weekend for that one.

To be fair though, you will also be giving your builder a multitude of decisions to make and problems to solve. Mine had to decide how to pour the concrete slab around a 200 year-old wooden post which was the only thing holding up one end of the house.

Lesson 3: If you think you can DIY a job to help the schedule, you can’t

This isn’t a case of not being capable, it’s a case of ruining the sequence. With the plan slipping week by week, you may want to spend some evenings and weekends doing painting or tiling or filling and sanding. But more often than not it turns out that’s not possible – you can’t get dust all over the prepped floor that’s going to be tiled next week, you can’t tile the fireplace for your new stove because the tile trim has to be fitted onto a floor that hasn’t yet been laid. So my advice is to roll with it and accept that sometimes you simply have to wait.

Lesson 4: Don’t over-commit yourself in other areas of your life

The decision fatigue, tension and sleeplessness caused by all this loss of control is going to take its toll. You will find your exercise routine suffers, you don’t have the energy to drive 2 hours to visit friends or family for the day, and if you work from home you will need to explain to colleagues that having the power down for 3 hours whilst the electrician sorts out your new outlets and switches will definitely impact delivery of that report.

But… Lesson 5: Don’t think you can escape

There will be times when there are just too many contractors in the house/flat, there will be times when your inner fuse is getting dangerously short. And you will dream of escape – be that long-term moving out, or just an away day. Sure, you can take it – but don’t think that the remodel won’t follow you there. Accept that there’ll be at least one daily call from your builder with yet another of those questions and decisions needed, no matter how well meaning they are. So no, there’s no actual escape until the renovations are over.

Lesson 6: Agree finishes at the start.

They are a misnomer, finishes – there’s an implication you don’t need to trouble yourself with them until nearly everything is finished. Yes, for some finishes, that might be the case – selecting your wallpaper, or wall paint colours does not need to involve discussions and decision with the builders. But floor finishes, tiles, kitchen counter tops, the power output of your new oven – these and others do impact the work and downstream decisions of your building team, so raise your requirements or ideas early. The aforementioned gap between freshly plastered wall and concrete slab awaiting tiles could have been more neatly managed if there had been an earlier discussion about skirting boards. 

Lesson 7: Your front door will always be open and your house cold

Not much more to say about that – stock up with hot drinks (if you’ve power and a water supply), blankets, sweaters and patience.

Lesson 8: Document where you’ve temporarily moved stuff, or forever be hunting it

I opened with a critical renovations lesson, and I’m closing with another. Writing ‘kitchen stuff’ on 3 large packing boxes is not enough. Whatever time the builder says the works will take, mentally add at least another 50% – and let this be front of mind when you work out what you can do without for that time. For everything you do need you will need to find temporary homes and you will need a detailed written list of what exactly is where, prominently displayed on a wall or in a digital note. Now you can store things in the most ridiculous places and easily retrieve them when required. Renovations are expensive – don’t add to the cost buying replacement items because you’ve misplaced the original. You might also use this chance to (whisper it) declutter.

Remodeling Takeaways:

• Expect delays
• Prepare for stress
• Make decisions early
• Communicate often
• Keep a clear inventory

The experience can be intense. But armed with a little wisdom (and a lot of labels), you’ll make it through.

 

If you find yourself longing for the character, charm and even wonkiness of a period home, you’re not alone. Across the UK and the US there have been various housing booms since the post-war ones of the 1950s, and consequently a large proportion of people live in ‘modern’ homes. These properties often boast clean lines, open-plan layouts, and practical functionality, offering bright, well-insulated spaces designed for contemporary living. But they are sometimes considered a little bland or box-like.The good news is that blending old and new in interiors is easier than you might think. From heritage-inspired decor to vintage-style architectural details, there are plenty of affordable ways to add period charm to a modern home—without breaking the bank. Here are ten simple and stylish ideas to infuse your space with timeless appeal.

1. Install PERIOD Mouldings

One of the most effective ways to give your home a period feel is by adding architectural details such as decorative cornices or deep skirting boards (known as crown moldings and base boards in the US). A bolder approach is to add wainscoting, panelling and moldings to your walls. These elements were a hallmark of historic interiors and can instantly elevate a plain room. However be wary of creating a pastiche – full height Georgian panelling in a low-ceiling newbuild will look odd. Keep it simple and classic, and in fitting with the proportions of the room. Most rooms will look great with simple tongue & groove or shiplap to channel a period cottage or farmhouse look. Pre-made moulding kits are readily available and can often be installed as a DIY project.

2. Highlight Period Architectural Features

If your home already has period features—even subtle ones—celebrate them! Expose original beams, restore a fireplace, and paint skirting boards or dado rails in a stand-out colour. If such features are absent, consider mimicking them with replicas. Adding a mantelpiece, for instance, can create the illusion of an original fireplace, even in a modern room. Use wall paint to replicate the look of a cornice or dado rail where one doesn’t exist.

3. Incorporate Vintage Lighting

Lighting is a transformative design element, and switching to vintage-style fixtures can create an authentic period atmosphere. Period homes often had layered lighting – unlike today’s standard overhead lighting, many rooms wouldn’t have had a central ceiling light but instead would combine wall, table and floor lamps. Look for chandeliers, table lamps or wall sconces from your era of choice – Art Nouveau Tiffany lamps, giltwood Georgian-style wall sconces, Edwardian opaline glass pendants. Reproductions are widely available, or you can scout antique shops and online marketplaces for genuine pieces. Don’t forget to consider the type of bulb—warm, soft lighting (2700 kelvin) enhances the nostalgic effect.

4. Use Heritage Paint Colours

Colour schemes play a significant role in setting the mood of a space. Research the palettes associated with specific eras: rich burgundy and chocolate browns for the Victorian period, nature-inspired colours from natural dyes for Arts & Crafts homes, or bold, vibrant shades for the Art Deco era (try my dedicated post on heritage colour palettes). Many paint brands offer heritage collections that replicate historical hues, making it easier to find the perfect shade.

5. Add Statement Wallpaper

Wallpaper was a staple of period interiors, and incorporating it into your modern home can bring immediate charm. Hand-painted and block prints were used in wealthy Georgian homes, whilst the advent of industrialised production saw more walls papered in Victorian homes. The Victorians infact went to the extremes of using different papers between cornice, picture rail and dado. And don’t forget those embossed papers which are back in fashion. Look for traditional patterns such as florals, damasks, or stripes to complement your chosen period. Whether you go all-out across the whole room or use it to create a feature wall, wallpaper is an impactful way to evoke a period charm.

6. Introduce Antique or Vintage Furniture

One or two carefully chosen pieces of antique or vintage furniture can anchor a room and set the tone for a period-inspired look. Consider a mahogany dining table, a buttoned chesterfield sofa, or an antique writing desk. The beauty of vintage is that buying second-hand is often more affordable than new. And vintage furniture was made to last – it can be more sturdy than our mass-made modern alternatives.

7. Install Period-Inspired Hardware

Sometimes, it’s the smallest details that make the biggest impact. Replacing modern hardware with period-style alternatives can instantly add character to cabinets, doors, and drawers. Look for brass or ceramic doorknobs, intricate drawer pulls, or vintage escutcheons (the decorative plates around keyholes and door handles). I’d also replace your standard white plastic light switches with a decorative alternative in antique brass or pewter. All of these can be found in salvage shops or online from stores specializing in reproduction hardware – see below for sources.

8. Dress Windows with period Treatments

Curtains and window treatments such as pelmets (cornices or valances in the US) provide an excellent opportunity to add period charm. Heavy drapes with tassels and swags suit Victorian homes, while light, patterned curtains fit perfectly in a Georgian-style room. Matching curtain and wallpaper patterns was a favourite approach for Victorian and Arts & Crafts interiors. Window treatments provide the perfect opportunity to introduce fabrics with period patterns. Roman blinds are also a classic design that work across multiple periods.

9. Consider your Flooring and Rugs

Wooden floors have been a staple in homes for centuries and will immediately add period charm. Engineered wood flooring is built for durability and works with underfloor heating, but you might also consider reclaimed wood or wood-effect porcelain or vinyl tiles. On the subject of tiles, nothing says Victorian home more than a boldly-patterned encaustic tiled entrance hall. Other finishes such as terracotta brick-effect tiles or flagstone or slate floors are both beautiful and practical options for period home style. If you don’t want to change your floors, consider a vintage or antique rug to anchor the furniture of a room, whilst adding warmth and texture. Persian or Oriental rugs were popular in many historical homes and pair beautifully with modern furniture. If genuine antiques are out of budget, there are plenty of high-quality reproductions available that offer the same visual impact. Always go as big as you can afford – a cheaper large rug will always look better than a tiny expensive one floating in the expanse of your floor.

10. Accessorize Thoughtfully

Accessories are an affordable way to introduce period elements without committing to major changes. Think brass candlesticks, vintage mirrors, ceramic vases, or framed maps and botanical prints. Group these items thoughtfully to create vignettes that reflect your chosen era. For example, a collection of blue-and-white ceramics can channel Regency style, while a cluster of colourful drinks glasses and a cocktail shaker adds Art Deco glamour.

Bonus Tip: Mix Period Charm with Modern Design

Mixing vintage and period décor and furniture with modern items creates a collected, layered aesthetic that’s feels like it has been pulled together over years or generations. In contrast, using all new pieces can feel more show home than real home. Moreover, blending old and new within your interiors often produces the most striking results. Balance the intricate details of period pieces with the clean lines of modern furniture. A contemporary sofa beneath an antique gilded mirror, or a sleek kitchen island illuminated by a vintage pendants, can create a visually interesting space.

Where to Source Period Pieces

If you’re wondering where to find the perfect items, here are some suggestions:

Antique Shops and Auctions:

Ideal for unique, high-quality pieces. The Saleroom provides online bidding to global auctions, whilst my favoured online antique shops include Merchant & Found and Petit Tresor.

Flea Markets and Car Boot/Yard Sales:

Great for hunting down affordable vintage treasures.

Online Marketplaces:

Websites like eBay, Etsy, and Facebook Marketplace often feature a variety of period-style items.

Reproduction Specialists:

Many companies create new items inspired by historical designs, offering a more accessible option. Try Pooky, Barn Light Electric Co and Jim Lawrence for lighting, Dyke & Dean and Restoration Hardware/RH for hardware and The Cloth Shop for heritage patterned fabrics.

Final Thoughts

Adding period character and charm to a modern home doesn’t require a complete overhaul or a large bank balance. With thoughtful updates and carefully chosen details, you can capture the elegance and character of the past while enjoying the comforts of the present. Whether you’re incorporating ornate mouldings, investing in antique furniture, or simply switching out hardware, these small changes can make a big difference—turning your modern house into a home with timeless charm.

 

The Victorian era (1837–1901) was a time of remarkable transformation in Britain, shaped by Queen Victoria’s reign, industrial progress, and cultural shifts. Architecture and interior design flourished, embracing a blend of Gothic Revival, Italianate, and classical influences. My Introduction to Victorian Architecture post elaborates on these architectural movements. In this post, I explore how these architectural shifts shaped the interiors and furnishings of the Victorian period (in British homes), from grand drawing rooms to practical yet characterful working-class homes.

As Britain’s cities expanded and the Industrial Revolution fuelled a housing boom, homes evolved to accommodate a growing middle class. Terraced houses (row houses for American readers), semi-detached villas, and grander suburban residences emerged, showcasing architectural innovations such as bay windows, decorative brickwork, and encaustic cement tiled hallways. Interiors reflected this prosperity, becoming increasingly elaborate with ornate wallpapers, richly coloured textiles, and furniture styles influenced by Gothic and Italianate styles – which evolved to become the Arts & Crafts movements.

What influenced Victorian Interiors?

Victorian interiors and furnishings were heavier, darker and less elegant than in previous eras. However proportions and room arrangements still resulted in interiors of comfort.

One influence on interior design in this period was the rise in understanding of health and hygiene. Germs had been recently discovered, cholera epidemics plagued the century and bedbugs were common to all classes. Design reform attempted to create artistic yet healthy homes. Charles Locke Eastlake’s widely read design guidebook Hints on Household Taste (1868) recommended strategies for a dust-free and more sanitary home. He became associated with a particular style of Art furniture; rejecting ornately carved furnishings that could trap dust and dirt, Eastlake called for a simpler style of furniture based on Renaissance and Gothic Revivals but with incised decoration that allowed for easier cleaning, as well as honesty in craftsmanship. Eastlake’s influence crossed the Atlantic—many Americans know his name from the popular Eastlake furniture style of the late 19th century.

Another influence on Victorian interiors was the Design Reform Movement. The Government School of Design was founded in 1837 (which became the Royal College of Art), to improve the education of designers, and in turn improve the output of British industry. Following criticism of the standard of domestic furnishings at the 1851 Great Exhibition, by the designer and educator Henry Cole, artist Richard Redgrave and ornamentalist and theorist Owen Jones, they were supported by Prince Albert to develop formal guidelines for a modern yet morally conceived design vocabulary. The Design Reform movement never completely achieved its goals. Instead of refining and reforming the plethora of styles, the movement created more styles from which the consumer could choose. However, it did lay the theoretical foundation for numerous designers and artistic movements, including C. R. Ashbee in the Arts & Crafts Movement and Charles Rennie Mackintosh’s Art Nouveau.

Gothic interiors were ornate and heavy, with lots of artisanal wood carved panels on walls and ceilings, gilding and elaborate fireplaces. The lower ceilings could make these rooms feel both oppressive and cosy in equal measure, and they succeeded in presenting the religious connotations of Pugin’s ‘purer’ Medieval ethos.

What defines a Victorian Interior?

Mouldings contributed to the structured and layered aesthetic of Victorian interiors, reinforcing the period’s preference for detailed ornamentation and craftsmanship.

Cornices and coving (crown molding) were elaborate in larger properties, often featuring classical motifs such as egg-and-dart, acanthus leaves, and floral swags. In grand rooms, ceilings often had multiple layers of moulding, combined with ceiling roses to complement gas or oil lamps. In more modest homes the coving would be deep but more simply stepped and layered with sinuous curves.

Victorian skirting (base) boards were taller than in later periods, often between 15-30cm high, providing a visual foundation for the room. They were usually painted in a gloss finish to protect against dirt and scuffs. Designs ranged from simple chamfered edges in smaller homes to more intricate profiles with fluted or scrolled detailing in wealthier properties.

In the Georgian period, dining chairs were usually positioned against the walls when not in use, and hence dado or chair rails, positioned about a metre from the floor, were a fashionable yet practical protect the walls from knocks. However in Victorian times it became fashionable to leave the chairs around the table so the dado rail-served no function and eventually disappeared. Wooden picture rail mouldings remained and skirting/base boards became taller and cornices deeper to balance the dado-less wall.

Characteristics of Victorian decorative schemes.

Mass production led to more walls being papered. Never known for their Minimalism, Victorians  often treated each part between cornice, picture rail, dado and skirting boards with a different paper or colour. Designs covered a vast range of styles, with wallpapers in the early years bursting with busy patterns often with dark backgrounds and large florals, and morphing through to simple designs in the middle and later period. Embossed papers which were then painted became popular, adding texture.

Victorians were not afraid of colour, though they often applied it in line with prescribed rules – red was considered the choice for dining rooms, whilst boudoirs and bedrooms were opulent and colourful, often in vivid blue. Halls and stairways were sometimes in neutral tones but also in very dark shades for maximum practicality. Colours used at this time included Pompeian red, buff, taupe, tobacco and chocolate brown, Stuart and olive green, indigo and Prussian blue, burgundy, black and gold. Carpets and rugs were also often elaborately and colourfully patterned.

Velvet upholstery was popular, along with needlepoint and an embroidery technique called Berlin wool work. Towards the end of the period loose furniture covers were made from striped fabric or floral chintz. Floral prints, tartan and paisley patterns were popular, as was lace. Chintz remained fashionable for some time, though the geometric designs of the Reform movement replaced this at the end of the century. There was renewed interest in chinoiserie designs of peacocks and dragons, phoenixes and flowers, all favoured by the Aesthetic movement of which the artist James McNeill Whistler and playwright Oscar Wilde were popular proponents.

From the middle of the 19th century, geometric and encaustic tiled floors started to appear in municipal buildings, churches and villas. As mass production improved by the 1890s, they had become an essential feature even in the most ordinary of Victorian terraced houses. The hall was one of the most important areas, as this was the first way (after the façade) of impressing visitors – so tiled hallway floors were extremely common in a range of styles. In larger homes the expansive hallway was furnished as a reception room.

Conservatories and orangeries became more affordable due to the availability of sheet glass and metal construction methods. Victorians were avid plant collectors, and filled their conservatories and other rooms with lush greenery including ferns, palms, and potted plants. These sunny rooms usually had encaustic tiled floors, whilst some had heavy draped curtains or lace panels to protect wicker furniture and soft furnishings.

The features of Victorian Furniture and objects

Victorian Gothic Revival furniture was embellished with Gothic ornaments, such as pointed arches and the architectural technique of tracery (dividing into sections of various proportions by bars or ribs of moulding). Furniture had cabriole legs and oval backs similar to Louis XV style of the 1700s. Large pieces, such as mirrored wardrobes, sideboards, and display cabinets, were carved and decorated. Mahogany, dark oak and, later, walnut and satinwood were the most popular woods for Gothic furniture. However by the middle of the period Arts and Crafts became the popular trend.

Seating included balloon-back chairs and curvy sofas and the introduction of coil-springing, usually accompanied by deep-buttoning of luxurious upholstery. Dining chairs seats were often covered in stamped leather or tapestry. For the first time, furniture was designed with comfort in mind, a positive outcome of the Design Reform rules of form and function. However, the demands of the mass market led to an inevitable decline in standards of ordinary domestic furniture with lots of showy, hastily and cheaply put on ornament and veneer attempting to conceal the lack of quality craftsmanship. The seeds of the Arts and Crafts movement had been sown.

The Victorians loved to experiment with new materials, one of which was papier mache. Small items such as trays, inkstands and letter holders were later joined by larger items and furniture such as fire screens, chairs and tables, bookcases and sometimes wardrobes and beds. Nearly always in characteristic black, but occasionally in red or green, the pieces were very ornately decorated with flowers, birds and patterns – frequently embellished in gold. Some of the finer pieces were inlaid with shimmering mother-of-pearl shell.

Victorian interiors were generally cluttered, bold and colourful in comparison to the homes of previous periods. In the middle of the era, parlours would be host to masses of ornaments and collectibles, a reflection of the 1851 Great Exhibition, the revolutionary world fair celebrating British and global innovation. The Victorians were massive collectors and obsessed with the past – decoration focused on accessories, with mantelpieces loaded with candlesticks, vases and figurines, as were occasional tables in reception rooms and bedrooms. Photographs joined portraits, miniatures and silhouettes to demonstrate to visitors the important family past and connections.

Key features of Victorian interiors

Ceilings

Plastered, with cornices and a central rose, sometimes more elaborately decorated in grander homes

Walls

Wallpaper of numerous designs, including embossed. Panelled or painted sections below dado. Vivid and rich paint colours and schemes.

Floors

Encaustic tiles in hallways and kitchens. Large patterns on fitted carpets and rugs, floor cloths and oil cloths.

Windows

Bow windows, sash, casement – new styles to suit the architecture. Stained glass transom windows and door glazing. Curtains with large ornate pelmets (valances or cornice), supplementary blinds.

Fabrics

Needlepoint, Berlin wool work, velvet, Chintz, tartan, roller-printed patterned cottons

Motifs

Gothic arches and patterns, medieval influences including fleurs de lys, heraldic motifs and quatrefoils, Owen Jones’ Islamic geometrics, paisley, large and small florals, stars and diamonds – a large variety

Materials

Mahogany, oak, papier mache

Lighting

Gas or oil lamps, candles and electric light by the end of the century.

 

 

 

 

 

The Victorian era (1837–1901) was a time of remarkable transformation in Britain, shaped by Queen Victoria’s reign, industrial progress, and cultural shifts. Architecture and interior design flourished, embracing a blend of Gothic Revival, Italianate, and classical influences. The period saw the professionalization of architecture, the rise of mass production, and the creation of richly decorated homes filled with character. This blog post explores some of the key architectural developments and the stories behind them.  You may also be interested in my partner post about Victorian interiors and furniture.

Historical Context of Victorian Design

Queen Victoria ascended the throne in 1837, ushering in an era of industrial growth and political reform. Britain expanded its global influence, while technological advancements such as the railway and telegraph revolutionized communication and trade. The Great Exhibition of 1851, a world fair of innovation held in the enormous revolutionary glass Crystal Palace, showcased Britain’s industrial and artistic prowess, influencing home decor trends for decades.

However, the period was not without its challenges. The Hungry Forties, marked by economic hardship and famine, including the devastating Irish Potato Famine, highlighted deep social inequalities. As science and industrialization progressed, religion and traditional structures faced scrutiny, leading to shifts in artistic and architectural priorities.

Victorian Architecture: A Fusion of Styles

The Victorian period saw an explosion of architectural diversity, aided by advancements in building materials and transportation. The Royal Institute of British Architects (RIBA), founded in 1834, professionalized the field, and notable architects like Charles Barry, Augustus Pugin, and Alfred Waterhouse helped shape Britain’s architectural identity.

In terms of style, classical was still hugely popular, although used with greater flexibility and variety than ever before. It could encompass both the formal magnificence of such buildings as Wrest Park in Bedfordshire, built in a classical French style by the first president of RIBA Thomas Robinson, 2nd Earl de Grey, and the picturesque Italian Renaissance of Queen Victoria’s Osborne House. The design of the latter, built by property developer Thomas Cubitt, was heavily influenced by Prince Albert’s own ideas of Italian style.

In the middle of the century classical styles were challenged by a Gothic Revival (not the first, often referred to as Neo-Gothic. The movement was associated with deeply philosophical movements associated with Catholicism. Architect Augustus Pugin admired not only medieval art but the whole medieval ethos, proposing that Gothic architecture was the product of a purer society. Unsurprisingly the style was used for his design of the new Houses of Parliament after the old Palace of Westminster was destroyed by fire in 1834.

The Neo-Gothic style is associated with medieval features, including decorative patterns, finials, lancet and oriel windows, crenelations and hood moulds. It encouraged architects to collaborate with artists and other designers to create sculpture, wall-paintings and stained glass. In this sense, it was the precursor to the Arts and Crafts Movement of the latter part of the century.

As the Industrial Revolution continued, people flocked to towns and cities, resulting in a house building boom. Suburban developments of modest sized ‘villas’ (compared to previous periods) and terraced (row or townhouses for American readers) or semi-detached properties spread across the country.  By the end of the period the lower classes moved from single room dwellings to homes of several rooms. Even the simplest of these homes had an abundance of characterful details – from terracotta detailing on façades and rooftops, to encaustic tile pathways and halls and small colourful leaded lights in doors. Bands of decorative brickwork were also widespread, bringing life to the frontages of Victorian homes. Terracotta was also hugely popular, with plaques and tiles incorporated into façades or used as finials and ridge tiles.

Terraces had developed in the preceding Georgian period, and Victorian terraced homes adopted much of their style. One key change though was the introduction of asymmetrical room arrangements, also seen in Victorian country houses which lessened their desire to impose themselves upon the landscape than their predecessors.

Windows of the period tended to complement the style of the house, from Italianate to Gothic styling, or decorative upper panes in Queen Anne revival homes. The bay window is iconic of the Victorian period. Technological advances saw changes in the construction of sash windows, with moves away from numerous panes to the ever more common two-paned sash. The finest of houses went one step further to demonstrate their wealth by further reducing these to just one large pane.

Those same advances in windows and iron production led to the popularity and relative affordability of small glasshouses or conservatories, typically accessed off a main living area.

Another architectural feature of Victorian properties of all sizes is the introduction of wrought iron fences and gates. While black is the prevalent colour today for ironwork, the Victorians originally used bolder colouring, like red oxides, greys, bronze greens, blues, or even polychromatic.

Key Architectural FEATURES

Gothic Revival

Inspired by medieval structures, this style emphasized pointed arches, decorative tracery, finials, and stained glass windows. Pugin’s work on the new Houses of Parliament epitomized this movement.

Italianate Style

Favoured by Prince Albert, this style featured stucco exteriors, wide eaves with decorative brackets, and belvederes. Osborne House is a notable example.

Industrial Influence

New materials like plate glass, iron framing, and terracotta allowed for greater structural innovation, evident in buildings like St Pancras Station and Manchester Town Hall.

Terraced Housing Boom

With urban expansion, modest terraced homes flourished, often adorned with decorative brickwork, coloured encaustic cement tile pathways, and stained glass transoms. Bay windows became an iconic feature.

Want to see some beautiful American Victorian homes? Look up the Painted Ladies of San Francisco or the historic neighborhoods in Cape May, NJ.

If you’re looking to enhance your Victorian home, or bring some Victorian period style to your rooms, read my other post on Victorian interiors and furniture. 

 

 

We’ve all heard the phrase ‘opposites attract’, and when it comes to interior design, mixing vintage and modern styles proves it true. A home with real character is one where heirlooms, antique finds, and vintage treasures sit comfortably alongside contemporary furniture, sleek tech, and modern materials. This blend of old and new creates a layered, lived-in look – full of charm, depth, and personality – the opposite of the sterile, show home feel. Whether it’s a mid-century sideboard paired with a minimalist sofa or a rustic farmhouse table beneath a sleek pendant light, combining pieces from different eras gives your home a collected-over-time warmth that feels authentic and inviting.
I’d like to say there are no rules to achieving this look – in fact, I think I will say that! But there are certain tips that can help you, and these are the focus of this post.

1) Mixing Old and New: Eclectic Furniture Choices for Timeless Style

First and foremost your furniture choices should focus on function – how many people need to fit on your sofa, how much wardrobe space is needed, how many dining chairs are required. And then you need to consider dimensions, spaces around these items and flow across a room. Once you’ve nailed those, you can look at style and cost – and these factors may determine if vintage or new is the better choice. The beauty of timeless style is this blending of the two – be that for aesthetic, functionality or budget reasons. A family with rambunctious children may find a large second-hand leather chesterfield sofa a great choice for piling onto and wiping down. Friends who gather together for your amazing drawn-out lunches may be charmed by sitting on mismatched second-hand chairs around the expanding table you blew the budget on. I find that when you focus on the requirements for the furniture and how they will be used, rather than purely on the style, you’ll create a more authentic and welcoming space because the furniture will work for your needs.
Also be wary of trying to be matchy-matchy by staying within purely one era. You risk ending up with a pastiche. Not only that, if you buy a vintage Edwardian mahogany dining table, you’ll put a lot of undue pressure on yourself to then find a set of 8 chairs, a sideboard and a side table all from the same era to ‘complete’ the room. Opposites really do attract – we’ve seen a lot of great dining spaces featuring a classically designed antique table with Philippe Starck’s Ghost chairs around it. Or a sleek, contemporary four-poster bed softened by a pair of vintage nightstands with aged patina.

2) Accessorizing for Period Charm: Vintage Finds and Timeless Details

Similar to my thoughts on the functionality of furniture, for accessories that will bring that ‘lived in’ look to your home I believe you’d be wise to choose with William Morris’ words in your head: ‘Have nothing in your house that you do not know to be useful, or believe to be beautiful.’ Unless you’re a complete minimalist or living like a hermit, you’ll need certain accessories such as vases, blankets, cushions, photograph frames, and far more crockery and glassware than you imagine you do. These practical objects can be beautiful – and often that beauty comes with a patina or a history. It may be your own family’s history with a hand-me-down, or it may be the personal history of the amazing ‘den’ of an antiques shop you found on a weekend away 20 years ago. Buying objects – be they vintage or new – because they tug at your heart strings, rather than because they are in an online sale on Black Friday, will bring you more joy in their usage.
It’s a sad truth that with the mass consumption – and thus production – of the last few decades, modern objects often aren’t as well made as their older predecessors. Vintage items may not be as cheap as a Chinese-made import, but they have lasted this long and are likely to last many more years. And buying second hand is the more sustainable approach we should all be considering.
Again, accessories from across the eras or centuries can be mixed with wonderful effect. A large antique vase placed in a more contemporary room will draw and intrigue the eye rather than look incongruous. Try pairing vintage brass candlesticks with sleek, modern glass hurricane lamps on a dining table – the contrast will add depth and visual interest. Mixing old and new in accessories can also be done through building a collection of something – vases of a particular material, or a cluster of small antique mirrors on a painted wall. Their timeworn frames will soften the space and create a more curated, layered look. For my recommendations on where to buy vintage accessories, and furniture, see the Where to Source section of my 10 Easy ways to add Period Charm post.

3) Textiles with a Story: Using Vintage Fabrics and Patterns

With textiles, you have access to a wealth of reproduction vintage and historical designs, across all price ranges. You also have access to modern materials which can sometimes be harder-wearing and easier to clean – both are sensible criteria to consider. But personally I prefer traditional non-synthetic materials such as linen and cotton, because of their lived-in, vintage aesthetic, and because they soften with age and use to become even more beautifully tactile and comforting.
Layering patterns is a great way to bring interest to a room. Like other collections, these chosen patterns can help a room feel like it has been curated over many years – bringing together items because of their individual appeal rather than their matchiness adds charm. Even if, for example, your cushions are all wildly different in design, bringing them into one space can still create something unexpectedly cohesive because they have all been selected by you based on your love of them. Like ‘chalk and cheese’ siblings, they are still of the same family.
When layering patterns, it helps to play with scale and contrast. Try pairing a vintage floral linen cushion with a modern geometric throw, or placing a delicate William Morris-style print alongside a bold contemporary stripe – the tension between the designs creates a wonderfully dynamic look. Don’t be afraid to mix traditional and modern materials either; a sleek leather sofa draped with a faded kilim or a chunky knitted throw instantly softens and humanises the space.
People can find patterns daunting, and fear making ‘mistakes’ in mixing them. If you are longing to embrace pattern but feel you need some guidance, consider my Pattern & Textile consultancy.

Rugs and textiles also deserve wall space. An antique tapestry or a vintage suzani makes a striking alternative to artwork, adding warmth, texture, and a sense of history. A large, heavily patterned rug hung as a headboard can create a rich, cocooning effect in your bedroom. Using these as wall hangings can save something that feels precious from cats’ claws or dirty feet – but I’ve also seen examples of fragments of worn tapestry framed on a modern wall to great effect, so don’t disregard the beauty of something that’s too battered for its original use.

4) Framing the Past: Art and Display Tips for a Heritage-Inspired Look

On the subject of wall hangings, art in general is an easy way to blend old and new within your home. We’re no doubt familiar with the gallery wall in homes – perhaps in the stairwell, living room, even a cloakroom. Yet another opportunity to develop a collection, art should always be acquired or bought because the pieces make your heart soar or have sentimental value.
Art is deeply personal, and your collection should reflect your individual taste rather than trends. My own growing collection includes lithographs, water colours, bold graphic designs, landscape photographs, and portraits – all pieces I fell in love with and eventually convinced myself to buy. None were wildly expensive, but each one holds meaning. The first piece I bought was an incredible seascape from an art shop on the King’s Road in London’s Chelsea – an impulsive but unforgettable purchase with my first commission payment as a young recruitment consultant.
When it comes to buying art, trust your instincts. Whether it’s a local gallery, an online print shop, or a flea market, if a piece speaks to you then listen to it. Don’t overlook unframed prints or sketches – vintage frames picked up at charity shops or car boot sales can add beautiful character and a sense of history. Alternatively, modern floating frames or sleek black borders can give older artwork a fresh, contemporary edge.
For displaying, don’t be afraid to mix styles and periods. A contemporary abstract next to a moody Victorian portrait can be wonderfully unexpected. Leaning framed art on shelves or mantels rather than always hanging it creates a more relaxed, layered look.

5) Layered Lighting: Creating Ambience with Period-Inspired Fixtures

Lamps and lights are a wonderful way to bring vintage and heritage charm to a room. Across many eras, lighting was often a celebration of the period’s design language – think of the natural motifs and sinuous curves of the Art Nouveau Tiffany lamp, the geometric shapes and symmetry of a pair of rectangular chrome and Bakelite Art Deco wall lights either side of a bathroom mirror, or the articulated steel arms and pivoting head of the modernist Anglepoise lamp.
Lamps from famous designers or manufacturers, such as Tiffany Studios, can be worth thousands or even millions of pounds, and mid-century pieces from designers like George Nelson or Arne Jacobsen can also command high prices. But you can also pick up far more affordable lights from auctions, vintage and antiques shops and second-hand or garage sales. I’ve purchased beautiful lamp bases in auctions – some without modern wiring, some with American fittings which won’t work in the UK. A good electrician, or indeed a competent DIYer with the right parts and tools, can rewire these to meet modern lighting usage and safety requirements.
‘Layered lighting’ refers to lighting at different heights and in multiple places in a room. And it’s an essential element of creating a welcoming atmosphere as well as ensuring functional lighting levels. Please don’t overlook the latter – a living room full of warm pools of light from table and floor lamps may look beautiful, but you’ll be cursing the lack of bright light when you need to thread a needle or fiddle with leads and buttons around the back of the television. Bright lighting on a dimmer switch is always sensible.
Blending vintage and modern lighting creates characterful, unexpected contrasts. A grand Victorian plasterwork ceiling can be made all the more striking by suspending a sleek, minimalist pendant light or a contemporary chandelier. Conversely, a modern or industrial-style room can be softened by the addition of a delicate Art Deco frosted glass pendant or a pair of ornate Edwardian wall sconces. A sculptural 1970s chrome arc lamp can make a stunning statement in a traditional panelled living room, while a vintage banker’s lamp can lend gravitas to a contemporary home office.

When positioning lighting, layer it thoughtfully. Use wall lights to create flattering, ambient washes, table lamps for soft pools of light, and pendant or ceiling fixtures on a dimmer circuit to provide overall illumination. Combining old and new not only makes the lighting more visually interesting but also ensures your space is as practical as it is beautiful.

Final thoughts

Blending vintage and modern isn’t about rules or perfection—it’s about creating a home that feels collected, personal, and deeply lived in. Whether you’re working with inherited treasures, yard sale finds, or sleek new pieces, the magic lies in the contrast and the care you take in choosing what surrounds you. Trust your instincts, embrace the layers, and remember that it’s the unexpected pairings—the antique lamp on the minimalist sideboard, the timeworn rug beneath a contemporary sofa—that bring a space to life. A truly timeless home doesn’t follow trends; it tells your story.