New Cocooning
Comfort in Interiors
“The trouble with corporate America is that too many people with too much power live in a box (the home), then travel the same road every day to another box (their office)” — Faith Popcorn
People rarely like a sequel and lockdown 3.0 is certainly no exception. Indeed as a result of the global pandemic we’re spending more time at home than ever before and it might forever change our attitude to interiors and indeed the concept of what “home” means. We’ve all seen trite phrases such as “home is where the heart is” and “an Englishman’s home is his Castle” embroidered on wall hangings and cross stitched onto cushions (both of which quite frankly are still nowhere near the aesthetic monstrosity that is the inspirational quote wall sticker), but the idea of home comforts, and taking it one step further, that of a warm, inviting and functional interior has truly “come home to roost” (to use another clichéd expression). Pre-pandemic, when looking for a property — be it to rent or buy — city workers, especially, often made considerable compromises based on the length of commute or proximity to shops and restaurants, often resulting in less than desirable living arrangements. Typically however, many workers were moving at terminal velocity, starting early and leaving late, with very few hours actually spent at home. This is or course no longer the case, we must “Stay home, protect the NHS, save lives” and thus glaring design defects — whether that be a far from user friendly layout or (more easily rectifiable) a dated and less than desirable décor — are staring us in the face day in day out. Yet despite the national Government campaign “Hands. Face. Space” it seems unlikely our interiors will morph into sterile, white environments or temples to antiviral cleanliness (though arch minimalist John Pawson (b. 1949) could undoubtedly make it look stylish). Instead, far more likely, they will become personal, tactile and warm; respites from an abstract, socially distanced and less personal world. Whilst wipe clean surfaces and touch-free technology might become de rigueur in the workplace, it’s doubtful they’ll find favour in the home where warmth and well-being will inevitably, and rightly, take precedence.
A typically art filled and tactile interior by designer Robert Stilin
A warm and elegant home office designed by Neal Beckstedt
A friend of mine, a gallerist and all round aesthete, who puts great thought into every new item acquired once told me that she notices every beautiful thing in her home — whether that be an artwork, objet d’art or piece of furniture — every single day, and that each item “sparks joy” (to quote organizer-in-chief Marie Kondo). This chimes with the general trend toward buying less and buying better, something striking a particular chord with millennials — both with regards furniture and fashion -— which in turn feeds into ideas of sustainability and using fewer resources. This seems to be the right approach as surely to be surrounded by colours, fabrics, keepsakes and artworks that have personal meaning will inevitably improve wellbeing and mental health. Closely connected to this is the necessity to design for comfort, and not merely as a show piece or gallery space; this of course means very different things to different people, but essentially it boils down to the fact when we immerse ourselves in sensorial, art filled spaces it serves as a reminder of our essential humanity and brings us kinds of beauty so necessary in times of struggle (in Ceramic Attraction for e.g. I referred to the unique connection one feels to the maker through the tactility of a hand-made three dimensional ceramic object). Expressing one’s personal tastes and preferences allows for a deeper connection to and appreciation for the spaces we inhabit on a daily basis. One’s home is after all ultimately a private inner sanctum and accordingly we should consider first and foremost, on a personal level, what qualities or attributes serve to make it a sanctuary; not what others may think or whether a paint colour or piece of furniture is “on trend” or “in vogue”. It can often take time and a good few mistakes in order to fully develop ones true personal style, but if ever there was a time then surely this is it.
A comfortable and inviting Wesr Village interior designed by Alyssa Kapito
Hopefully we can turn a page on the constant, relentless pursuit of “newness” which, in any event, serves only those magazine editors desperate to fill column inches and those brands launching endless “seasonal” collections (designers working within the interiors industry will tell you of their frustration at the speed with which certain manufacturers discontinue classic lines in favour of editorially eye-catching prints and patterns) and instead focus on individual interiors that are built to last, and to be added to and developed over time. By no means is that to say interiors magazines are obsolete; people will always be interested in seeing the homes and interiors of those individuals, or created by those designers, with the creative flair and originality to concoct truly exceptional spaces (though perhaps with less of a celebrity focus). On the topic of such magazine shoots I would personally relish a great deal less styling and editing so that we might see how people really truly live in their homes and not merely a space entirely airbrushed of everyday detritus and the life of its inhabitants. The French photographer François Halard has a particular talent for capturing the spirit of an interior; indeed perhaps my favourite photograph of art collector Maja Hoffman’s palatial London townhouse (published in Architectural Digest) is that of her partner, the film producer Stanley F. Buchthal, at work in his study with books and papers piled everywhere and an array of personal mementoes in plain sight. Signs of life should not be seen as imperfection, for life isn’t perfect and it’s often that everyday detritus that says more about a person than a Picasso hanging over the fireplace. As a caveat, I would like to add, that doesn’t mean “mess”, but rather toiletries, slippers, books on a bedside table, pens and papers on a desk or a dog sleeping in the corner — these are all things that make a house a home.
In a recent report consulting group McKinsey found that faced with the uncertainty of the Covid-19 crisis “consumers intend to continue shifting their spending to essentials, while cutting back on most discretionary categories … such as travel and apparel”. Yet recent spending surveys would suggest these essentials include DIY and household goods including the purchase of wallpaper, paint and fabric, or rather, home improvement staples (for e.g. sales at DIY specialist B&Q rose 24% to over £1bn between August and October 2020). Indeed it’s clear that the more creative and capable among us are taking the opportunity to make their homes aesthetically nourishing places to be in (and not just the hasty construction of make shift home offices). These findings reflect the fact that en masse we have started to realise the importance of the home, or even, a new perception of luxury; namely a comfortable well-appointed interior where one can relax, unwind and escape from a troubled and fractured world. Our day to day environment has a significant impact on mental health, and arguably therefore it should be seen as important as diet and exercise. After all, if you’re surrounded by disorder and chaos its often hard to find the motivation to focus on our physical selves. Of course, at the same time we should be careful not to retreat altogether into our cocoons as with increasingly sedentary lifestyles, screen-based jobs and the proliferation of apps and delivery services which at the touch of a button cater to everything from turning on our heating and lights, to delivering food, clothing and whatever else we might desire, we must not forget that our bodies are, after all, designed to be used (quite shockingly childhood rickets is rising in developed nations, as is gout in adults).
A warm and sensorial Chelsea apartment designed by Andre Mellone
Our homes must be personal, sensorial, considerately planned and clutter-free in order to inspire us to make the most of our day to day lives. That doesn’t mean they should ignore wider cultural change for e.g the mainstream move towards sustainability in interiors, but rather we should pay less head to the fripperies of “fashion” and “fast interiors” (for e.g. purchases made with little or no consideration and merely to satisfy an immediate desire for a trend-based product) and instead focus on creating a unique, timeless environment that is a true reflection of our inner selves. Since the outset of the pandemic, and subsequently through continued “lockdowns”, some of us might already feel a deeper connection to items within our homes that evoke memories of people, places and events that hold personal significance. Similarly since the advent of digital cameras there have been fewer personal photographs on display in the home; some may now take comfort in seeing an image on a shelf instead of scrolling through their mobile phone. Essentially, and above all else, the notion or comfort should be key; the ability to relax in one’s own home is essential to mental well-being and ergo overall contentment. This advice is equally applicable to an interior design industry that should focus more on build quality and craft — moving away from a reliance on cheap, environmentally unsustainable materials — and reducing carbon footprint.
Exactly forty years ago in 1981 German “futurist” Faith Popcorn (b. 1947), a trend forecaster and marketing consultant, coined a new meaning for the word “cocooning” — to describe the ambience sought by 1980’s suburbanites as they slouched on their Barcaloungers in front of monstrously large TV screens. According to Popcorn the heady days of disco were over and being worn-out, overstimulated and exhausted became a “thing”. In 1987 a Los Angeles Times article — which tied the concept to a fear of environmental destruction — described cocooning as “a desire for a cozy, perfect environment far from the influences of a madding world”, whilst a few years later The New York Times called “lounge wear for cocooning” a trend among many designers, including Ralph Lauren, Giorgio Armani and Valentino to create clothing for use at home that was more dressy than sleepwear but less formal than sportswear: “However, sleeping is not the point. Neither, necessarily, is seduction. Cocooning, a dream word for market researchers, is. Everybody is working. Everybody is tired. Everybody just wants to go home and watch 48-inch TV. Relax, slip into something comfortable, and join the ranks of homebody chic.” The den became the signature of the era and comfort reigned supreme. There are clearly certain parallels between then and now, but, fortunately, design has come on somewhat since the day’s of faux-Tiffany lamps and sunken seating. “New-cocooning” should instead focus on how our interior spaces affect our moods and our ability to work, not only on our physical comfort.