Max Hurd: I’ve been living in this house for the best part of three years now, which most people don’t tend to believe when they walk in due to the sheer volume of stuff I’ve managed to accumulate in quite a short period of time. he real answer is I had most of this stuff before, I just lived in very very cramped quarters.
I fell in love with this house the minute I walked in for quite a ridiculous reason, which is that it had a hallway long enough to house my favourite favourite painting of all time, which used to hang in my childhood house in Brazil. It’s an incredibly long painting, which made it quite difficult to find a home for. So when I walked into this house and saw the long hallway, I knew straight away it was the right place for me. It was also exactly what I wanted, which was a sort of Victorian workman’s cottage; very cute, very dainty, very British. I knew it was the perfect canvas to creatively explode, which I subsequently did using every ounce of creativity I had and also by drafting in my friend, Benedict Foley, to help me along the way.
The house itself is somewhat mad. It’s often been described as Marie Antoinette meets Oscar Wilde by way of a Brazillian bordello, which I think is a pretty accurate way of describing the aesthetic we’ve got going here. The vibe I wanted is very traditionally British but with that specifically British thing of being quite tongue-in-cheek.
It is playful without being silly I hope, and a lot of the design choices we made in the house are inspired by very old-school and traditional interior design techniques but we subverted them by using fun colours and playful textures and playful fabrics. So it’s kind of contemporary and modern without being overwhelming or silly. In my opinion anyway. I can imagine it’s not to everyone’s tastes, but it’s where I feel most at home and most comfortable and ironically most relaxed, bearing in mind it’s not NOT a visual assault.