Inside an Effortlessly Elegant London Home - HOUSE TOUR

Hi, Homeworthy. I'm Suzy. Welcome to my home. Please come in. A big thank you to Saatchi Art for sponsoring today's episode. Finding the right piece of art can completely transform a space, and for me, I'm always looking for something that feels personal to our home. Enter Saatchi Art, the world's leading online art gallery where you can discover and buy one-of-a-kind pieces from emerging artists around the globe. They also offer personalized recommendations through their art advisors, completely free, which makes the process of finding the right piece so much easier. I found this piece by Suren Nursisyan through one of their art advisors, and it's the perfect addition to our living room. I've always been drawn to the desert and knew this painting, titled Old Saguaro in Arizona, would fit beautifully in our living room. On Saatchi Art, you can easily browse and filter their large catalog of original art or work with an art advisor like I did. They make the whole process feel approachable. I also created my own Saatchi Art collection on their site with pieces I love, so you can explore my picks and you can use code HOMEWORTHY for 10% off original art. Visit SaatchiArt.com to get started. You're watching HOMEWORTHY, where we believe every home has a story. Hi, I'm Susie Hoodless. I'm an interior designer, and we're in my home in London in England. So this house is a bit like a laboratory, and when we moved here with one child, I didn't really have the headspace to sort of take on a big project, so it's been a very slow organic process. I think the first room we did was our daughter's bathroom, which we decorated 14 years ago, and it still looks as good today as when we designed it, which is kind of a testament to my ethos as a designer, which is all about designing spaces that feel modern but also have longevity. We did a sort of major renovation on about eight years ago, and we sort of extended the kitchen. We went down to create more sort of height, and again, I really wanted a kitchen that would be super robust, feel kind of modern, and would stand the test of time, and a sort of high traffic area for a sort of busy family of five. So I was one of the founding interiors editors at Wallpaper Magazine in the 90s, and I worked there for five years, and I traveled the world, and I met lots of designers and manufacturers and suppliers, and I left with five Rolodexes of contacts, and this amazing American girl asked me to help her with her apartment in Notting Hill, and I knew who to So I just began, and I designed her apartment, and then 25 years later, people are still asking, so it was a slightly random way of getting into interior design, but it's worked for me. So welcome to my hall, and this is the front entrance to the home, and it's very simple in here. It's a really kind of neutral palette. It was based around this amazing picture that I bought, which is by Bridget Riley. It's these super bright, strong colors, and it's called Carnival. So I love this print, and the color palette for the front door is kind of based on this, so that's the kind of focal point. This amazing pendant is French 1940s. I bought it from Cairo Mondaglio about 25 years ago, and this is a kind of very high-traffic thoroughfare, so we keep it sort of simple with a huge mirror. I've got these sort of contemporary wall lights, and then my beloved Fornacetti umbrella stand, which is down there, and a sort of Scandinavian bench. So it's simple and as minimal as it can be, so that it allows for the chaos that happens throughout the day. These are my little George Jensen. This one's a clock, and this one is a thermostat, so that's really nice just to sort of check in with what's going on with the weather and the time as you're kind of passing through. Just a nice little detail there. And then we come into our double sitting room, and this is the space that really acts like an extended part of the hall, and over the years it's kind of worked as different spaces, but you can see here my large bookcase, and it's all very kind of carefully catalogued. I've got my garden books and my art books and lots of interiors books and architecture. There's craft, pottery, lots of auction catalogues from Wright Auction and Bonham's and Christie's and Phillips. All my early wallpaper magazines, some of which I think are worth quite a lot of money these days, so they're quietly tucked away up there. And then I've got some of my cookbooks, because we're big cooks in this house, and then a few photographs and a few sort of precious objects. So it's a sort of ever-evolving, and I move things, and we use everything here, so it's a sort of live setup really. And then these are all kind of really hard-working, storage is sort of key in a house with five of us, and so I have everything that we kind of use day-to-day in here. We've got homework drawers, we've got gift wrapping, and we have down here games, and this sort of art and craft cupboard, so it works pretty well. So this is a lacquer cabinet that I designed many years ago, and I hadn't made, and it's inspired by Tommy Parzinger, American 1970s designer, with these brass hinge details. And this is a bit like, this is our sort of in-tray, so post comes in and out here, and anything that's sort of in transition kind of comes to this space here. And this is a print that I bought from the Royal Academy Summer Exhibition, and I just love the sort of architectural line drawing. I have no equestrian sort of activities in our house, but it's just a drawing that I really love. So this is this space, and it connects through to this other, the main sort of sitting room, and this is where we entertain, we hang out as a family, we watch movies in here, we read. This table is full of books that someone is either reading or looking at, and there's lots of new books that we got at Christmas, so it's a kind of ever-evolving pile. So I've got more art books from the recent Van Gogh exhibition at the National Gallery. I'm really into restaurants and food, and this is an amazing book, Jeremy King book, and the guy that set up the Tribeca Grill restaurant in New York. So lots of books that kind of travel books. We've just been to Kenya, so that's a bit of a kind of diary of our life really, what we're currently doing. And then this room, which I designed when we first moved here about 14 years ago, and one of the first things we bought was this George Smith sofa, and I wanted a sofa that was big enough for five of us to sit on, and we don't do that very often, but when we do we can all sit on there. And it's just a big comfortable sofa that we can all pile onto and sort of move cushions around. And the cushions, I sort of seem to collect cushions, and it's something I buy quite often when I travel. This I actually bought when we went to Venice a few years ago, and it kind of depicts little scenes from Venice and around the area, so that's a kind of nice memory from there. And then this is a little Scandinavian sort of love seat that fits really well in this bay window. These are quite often quite difficult spaces to decorate because they're not sort of super wide. So this works really well, and I love that it's a very sort of sculptural piece from when you come in. And I've just actually reupholstered in this amazing flame stitch fabric that is super thick, so I'm hoping that's going to stand the test of time. And that's a very iconic Japanese stool, so just again mixing Scandinavian, Japanese, very traditional English, you know, it's all this kind of mix. This is a sort of Danish side table with this sort of inlaid leather top. Another Fornacetti plate from Stockholm, and I absolutely love Stockholm and all things Swedish, so there's a lot of Swedish design in my house. And this wallpaper that we designed with Adam Ellis Studio, so the Monterey Pines, and it feels actually very calming in here. It's a very sort of, it's supposed to be a room that you know, feels relaxed and chilled and calming and peaceful, and it mainly gets used sort of in the evenings and at the weekends. And you know, it's a sort of about a, it's an escape, that's the sort of plan. And then what we always do with homes is we want them to feel like, we do a lot of sort of stripping out and putting them back architecturally to what they would have been. So when we first came, this was one of the first things we did, was put in this Chesney fireplace, which is just this really beautiful marble off-white fireplace with this hearth, and this is actually a gas fire, but it's designed to look like a real fire. So that's kind of a real focal point in this room, and you know, I think makes the house feel like what it would have been. And then once you've done that, you can kind of layer up. And then the curtains, things like the curtains in this room, those are a quadrat, very good quality Scandinavian fabric that has been quite a kind of consistent, neutral fabric in a room that has evolved sort of over the years. And then sort of lighting, you can see there's a lot of lights in this small space, but I like layers of lighting. This is the Danish Arne Jacobsen light. I want every space to have lighting next to it, and this is a space where we read, so a really good task light is really important here. And this is a French 1940s wall light by Serge Moy, quite a well-known iconic piece, and we just angle the lights up so it kind of bounces light off the wall, but it's also just meant to be sort of sculptural, really. And these are kind of fun. These are Italian 1970s that I bought from Guinevere Antiques on the King's Road in London a long time ago, and they're super contemporary, and they're just sort of fun and just sheets of aluminium. And then coming around here, these chairs I bought from Talisman, and they're American 1970s, and they are sort of a chrome frame with this kind of wild animal print, which I love, and I feel like it looks really modern, but actually they're really classic, and I sort of mix them with all sorts of stuff, and it works. This cabinet I actually bought for a client many years ago. It's Joseph Frank from Sphinx 10. It's a really beautiful piece, and then my client moved and downsized, and she sold it back to me. So I'm the happy recipient of this really beautiful dark green lacquered cabinet, and then we pile it with books and more lighting. So it's a sort of, you know, happy organic space. And then I don't have that many pictures. I've just got one picture in here, which is a photograph by Thomas Zanon Larcher, who is a German photographer, I believe, and that's the car that I've never bought that I would love to buy, the kind of vintage Mercedes, which is great. So I just love having a very contemporary photograph in here, because it sort of offsets everything else. I am a rare Londoner. I don't quite know who I grew up with in London, because everyone's always amazed that I was actually born in London, and I have always lived in London, travelled a lot, but always lived in various different areas. I grew up in South West London. I now live in West London, and I moved to this area primarily because a lot of my friends and then my clients live here, so I sort of gravitated towards this area. And then when I had children, I have three teenage children now, we came to this part of West London, and we're in a tall Victorian house, which is now brilliant for teenagers, because we all have our sort of own floor. So it's a great house, and it's kind of expanded as we've grown. When we moved here, I think we had one child who was one years old, and we had lots of empty rooms and lots of empty cupboards. And we have grown substantially over the years, and now it's a very busy full house. So we're here in my kitchen. And so this was a kind of large renovation project when we first bought the house. And we came down a few steps, and just to create a sort of, you know, a room that had sort of really great height, because I knew this was the room we were going to be living in. And this was the first, the floor was the first thing we chose. And this was, I think, the best decision we ever made. It's this limestone herringbone floor from Lapis Cedar. And it felt like quite a bold decision at the time, because it's black, and herringbone felt like quite a strong kind of pattern. But actually, it's been amazing, and it's super robust. It's only kind of got better with age. And to me, it feels kind of very modern. I can put any colour in here, and it kind of offsets against the floor. And yeah, it can deal with all manner of children and animals. So I would highly recommend a stone black herringbone floor. And then in here, this is my first ever project, this little doll's house that my parents bought for me when I was about 10 years old, this very doll's house. And they bought, it was flat packed. And it came from a shop in London called The Singing Tree, which no longer exists in the Fulham Road. Anyway, I took it to school to make it in woodwork. And it was so complicated. And I realised that I was never going to be an architect or a builder, because I wasn't interested in actually building the house. What I wanted to do was decorate it. Anyway, it sat in my parents' garage. And then my parents, for some reason, gave it to my mother-in-law, and she had it built. Anyway, and then I recently reclaimed it back from my mother-in-law. And with my daughters, we've been slowly decorating it. And we painted the outside, and it's work in progress. Still, it's been the longest project of my life, because I'm now 51. So it's 40 years in the making, this house. And then, so I think the main thing I wanted, we're, as a family, really into food and cooking. I never wanted fussy eaters. But now what I've created is three children who love cooking and food so much that normally there's about five different meals being made every single meal. So yeah, we produce probably 15 meals out of this house every day. So I wanted these kitchen cabinets that felt simple. They've got a sort of shaker aesthetic, but it's a sort of pared-back, quite sort of modern version. I bought the Ironmongery in, I had it shipped from New York, because I couldn't find anything here that I really liked. And they used to be a sort of cobalt, Yves Klein blue, which was a colour I completely loved. And then it needed redecorating. So we just recently redecorated this. And I love this kind of gloss finish. And it's this very deep kind of aubergine. It's called Tiger Moth. So this is a real working kitchen and gets a lot of use. And this is probably one of the best, again, one of the best things I put in was this Mercury. It's like a sort of highly engineered machine, but it's great because it's got five big hobs on it and two ovens and it works hard. And then I didn't want lots more built-in cabinets, because we've got a lot over there, and I didn't want it to feel kind of heavy. And so I designed and have made these steel ceiling-mounted shelves with kind of glass shelves and then this black metalwork. And so I love these. They're super practical. It feels a bit like being in a restaurant in here for lots of reasons. But it's really easy just to kind of grab plates and sort of, you know, see what you've got rather than open endless cupboards. The downside is the dust and it needs quite a lot of cleaning. And so I try and keep it edited. It's not looking that edited right now, but I like the look of it. I like, you know, I love kitchenware, tableware. I buy really good things that are super practical, but are also beautiful things to have around. So I'm happy for them to kind of be used. And I also buy things that, you know, again, from sort of trips, like these are Moroccan plates that I bought from a trip we did to Marrakech years ago. And then these are these little fish plates that I bought. Actually, these are from a well-known retailer. So not one of my big travels. I buy lots in Suffolk. My parents have a house near the beach in Suffolk. So I'm always just collecting little kind of things. And I love buying things that like have a specific use. Actually, I think my mum gave me this. It's a celery jar. So not of huge use, particularly because I don't like celery, but luckily my husband does. But yeah, it's a sort of whole collection of things here. And then the table is the same. I'm always, this is this table designed by another country. They are a English manufacturer, and they're all about natural materials. And this is a really beautiful ash top with walnut legs. And again, I wanted something that felt, this was a bespoke size, so we can seat two people at each end. And it's a table that I wanted something that was really communal, could work for us as a family, or if it's just two of us, but we can also seat kind of, you know, 10, or if we have benches, we can fit sort of 15 people here. So this has been like the centre of the home. And this will be a piece that we'll have kind of forever. And, you know, all our lives stories will be kind of held around this, this table. And then I sort of like to style it again with practical things. But also things that I love, and sort of give me, give me joy, really, and seasonal kind of flowers and plants. So, and things, this is a bowl, a really beautiful Scandinavian bowl from Sigma, who are a antique dealer in the Fulham Road in London, and they always have beautiful things. And I love this, this is another of these quirky things that this is my sort of cheese plate. And so that quite often kind of will sit on the table with some cheese inside. One of the dealers I love buying from is, or manufacturers is Sphinx 10. And these three pieces are all from Sphinx 10. I just taught my children how to clean silver, but it felt very, it felt very sort of upstairs, downstairs here a few weeks ago, because they were learning to sort of polish their silver. And there's quite often food on the table if there's something kind of fresh or, you know, nice looking. And then these amazing fish plates that I also bought from a dealer in Suffolk in England on the east coast. And then it has this mix of chairs, I bought 10 of these black wishbone chairs, I think, 30 years ago. They are very good antique original chairs. You see lots of copies around now, but these are these are kind of original. And then I've mixed them with these Borg-Morganson red chairs. So it's sort of always changing, I have more of more of both. And then in here, so this is where all our kind of plates and bowls. We do a lot of Japanese cooking and eating. So just recently bought these really beautiful Japanese bowls, we're obsessed with Japanese food. I spent Sunday at the Japan House in High Street, Cairn, which has has the most amazing exhibition of all things Japanese, but particularly ceramics. So we were kind of drooling over everything there. These are my little Alessi egg cups, which the kids love. So and this is really nice. This one thing we did was put these huge windows in when we first moved here. So it really kind of they're quite sort of Georgian proportions, but I wanted a space that just looked out onto the garden, both that is east facing, and that is south facing. So it just lets in kind of tons of tons of light. And then, you know, I want it to feel styled, but it's also a home. So I kind of carefully curate it, whether it's things like this box, which holds all the chili and our salt and pepper and our oil and everything that we use to cook. This is my daughter's little matcha station, which is a very important part of her life. So it's, you know, it's all meant to just sort of work and, and I want it to feel like a home. I want I want my family to feel sort of comfortable and at home here. And then this is my son's recent purchase at auction. So he's clearly going to be either a designer or a dealer or it's this quite cool little step ladder. It says, anyway, so he wanted to buy that at auction. So that sits there. And this is another piece by another country. Again, it's ash and walnut. And it just it's great as sort of extra storage. And I bought a pair of these lamps at in Paris at the flea market, Clignacourt years ago, and then just I updated them, they had kind of funny broken shades. So I just bought these linen covered lampshades. This is this is a by Stig Lindbergh, who's a really important Swedish ceramicist. And this is like one of the most precious things in my house that no one else has ever allowed to touch. There's a few things like that here. And then there's kind of things that the children have made. This is a print I was given for my 30th birthday by Gary Hume. Again, I love it. And it's kind of stood the test of time and sort of works with everything that that I've got. And this is the other piece that I really love, actually, which is Bridget Bardot by Gerald Lang. So he's a, an English artist, it was, I think, 1950s. And this has new meanings, saying that she recently died. But again, it's sort of super contemporary, but it has longevity. I actually first saw this in a flat I tried to buy. And I completely fell in love with this flat, but I couldn't buy it. Because there was some sort of problem with the planning. But I managed to track down the Bridget Bardot print that I saw in the flat. So that always reminds me of my failed property purchase. And yeah, it's just a space that really works. And I think the lighting again, is really important in here. It's sort of multi-layered. It's got these sort of, you know, iconic Alva Aalto beehive pendants. Everything's on dimmers. We've got these kind of, again, more of the 1970s wall lights. And then these other, these are kind of, this is all sort of, you know, crazy lighting. This is Italian. And it's a very sort of iconic light. The whole sort of piece here lights up. And when it's super dark and grey and miserable, that's quite a sort of useful. And as is this, this is a vintage 1970s floor lamp. So I love buying lighting. And it's a bit of a sort of habit of mine. But I can always find somewhere to put a light. Oh, and then this is a, this is really important. This is by Joe Colombo. It's 1970s Italian. It was reupholstered not long ago. And this is a much loved chair in our house. And I think will be one of those kind of heritage pieces for us that we'll sort of hand down. But you know, someone's always in that chair, either reading a book or on their iPad, or hopefully just chatting with someone in the kitchen when we're here. Welcome to my cloakroom. This is a tiny little space under the stairs. We really, it was really important to put a loo on the ground floor here. And so we just recently redecorated this. And it is a I think a limited edition colour, this kind of very dark, intense woodland green colour. And it's just really kind of activated the space. It's a really nice, cosy, dark space. And I just recently inherited some antique brown furniture. And this is this little side table. And it's just I love it against the green here. And then I just mix different objects that I found that I like. And again, it's just super practical. And there's this big vase. I love collecting overscaled vases that I bought in Stockholm. And then there's this completely amazing but the hardest piece in the world to try and to show it's a print by Annie Albers. And it's it's raised. It's like a relief. So it's all white. So when we redesigned this bathroom, I designed it specially for this piece of art. And we lit it so that it's kind of downlit. So then you can see the relief. And it's kind of framed by these two candles here. And then on the opposite side is a is a sort of landscape from the English countryside. And it's I think it's in Norfolk, which is very near my parents home in Suffolk. And it's a sort of bleak mid winter scene, which I sort of love. And this is my basin from Drummonds, who we work quite a lot with, with these really traditional, but solid, big, robust taps. And then this mirror was one of the first ever pieces I bought, which was from Pruskin, who is a dealer in Kensington Church Street. So I love this piece. It's very precious to me. And it's got this very sort of contemporary geometric encaustic floor, which sort of, you know, works really well mixing with with the furniture. So yeah, it's a tiny little space. And it was really important that we painted the ceiling and the walls and the door. So the whole room is very sort of enveloped. So my interior design style has evolved over many years. Prior to wallpaper, I actually worked my first ever job was at Designers Guild, working for Tricia Guild. So that was probably my first introduction to colour and pattern. And then after a stint at House and Garden and various other magazines, I worked at wallpaper. So this very sort of modernist aesthetic, minimal aesthetic. And when I first started out doing interior design, that was definitely my focus. And the first apartment we did in Notting Hill was all Cappellini and B&B, Italia furniture. And then I kind of found over the years, whatever my client's brief was, it was always the last line was always, we want a comfortable family home. So I like to be a designer that reacts and fulfills our client's brief. And so I think my style has sort of evolved because of that sentence, actually, because I want homes to look great and to work. But I'm a very sort of practical, down-to-earth designer. And I want it to feel like a home. And it's got to be comfortable. So I think that, and I love good design. And, you know, good design comes in many forms. So I'm not too hung up on the style or the period. What I want is the sort of best of design. So people quite often say to me, I don't understand how you can mix those things together. They really shouldn't go together, but somehow they do. But I think if you buy the best and you buy what you love, then it sort of works. So that's what I'm driven by, really, is yes, color and pattern are important. But we quite often work on projects where, you know, color can be very neutral. It doesn't have to be sort of bright, strong, big, sort of bold statements. And the same with pattern. So, you know, it can be more about sort of texture, but it's about, for me, it's always about combinations and mixing and creating sort of unexpected and sort of surprising sort of combinations. And also, you know, a home that just feels lived in. And I want homes where children can come in and move things and, you know, make a mess of something, but it still looks good and things can move around. And, you know, it's not sort of too precious. We're not creating show homes. So, you know, yes, it's design led and it's informed, but it's definitely not precious. And it's a mix. And it depends on the client as to what that mix is. Is it more contemporary or is it more sort of vintage or normally it's a sort of combination really. And it's just finding that kind of zeitgeist and that right sort of combination that is sort of building on who our client is and it's their sort of DNA. And I want at the end of a project, I want a client to say, God, this is everything that I wanted, but actually couldn't imagine, you know, that this is what I wanted. It's so kind of, you know, me or us, but then everything I love too. So it's sort of finding that place where, you know, the client loves what we do, but I love it too. So yeah, every project is very different because of that. So this is my son's room. It was a study and it's tiny, but he just recently moved in here because he wants to be close to our bedroom and he wants to be close to the ground floor. And actually it's a really great room. It's got loads of storage and loads of hanging and drawers and shelves. He's got his little kind of cabin bed and his desk, which now seems to have decks on and he's got all his books and it's a really cute little room and just sort of super easy. So this is our bedroom and it's quite a big, wide bedroom for a London townhouse, which was one of the things that really appealed to me when we came and first saw the house. It's a super comfortable Haston's bed, which is Swedish. And I nearly always for beds make these headboards, which are kind of really luxurious upholstered headboards in a really sort of great fabric. And this is really cozy. I want this room to feel peaceful, but I also want it to feel really comfortable and cozy and a retreat. I quite often make these big quilts and this is in this kind of stripe fabric. And again, in the middle of winter, you know, we put it away in the summer and in the winter we sort of take it out. These two side tables kind of work as bedside tables. I like that they're mismatched. They're two pieces that I inherited quite recently and yeah, they're just not too precious, but they're super practical because they've got drawers and lots of surface for endless books. And then this is a piece by Tracy Emin, which again, I bought at the summer exhibition in the Royal Academy and it's called Space Monkey. And I just thought it was really cute. So he sits up there and then I've got this sort of vintage sheepskin chair with this little vintage side table, which can be used as a stool or to sit and read a book and have a cup of tea. I've always, I use lots of these little martini tables, which again are really useful for piles of books and you know, you can move them around. And this is my much loved dressing table, which again, I bought in Sweden and it's got endless drawers of different sizes. So I have to try and remember what's in where, but it's sort of super practical and it sits in the window here, which is great for lighting and for me to sort of do my makeup. And then the main part of the room is opposite the bed, just these, this huge sort of bank of storage and these big sort of wardrobes. And I put this, I did these doors with this sort of groove down just to give it some sort of interest. So it's got this kind of vertical line and these huge, great recessed handles, just so that it has some sort of decoration and interest, but it's still simple and modern and a very sort of clean looking wall. So this is my daughter's room, my eldest daughter's room at the top of the house. And she is really lucky to have this because it feels a bit like an apartment. And when we first bought it, it was just this kind of very sad, empty space. And so we wrestled with it for a while. And then I realised what we needed to do was to do lots of built-in joinery to make it a sort of practical room that had a function and could work. So we put these two beds in, a double on one side and a single on the other side, and then filled in the gap between the end of the bed and the wall with wardrobe space. So she has a lot of cupboards and there are drawers underneath and each side, kind of right under the window, there's a kind of horizontal surface that can be like a sort of bedside table for her kind of book. And then it has these really great wall lights. And then connecting the two beds, we just did this sort of huge great desk, which is a sort of dressing table and a desk and she's a big reader, so there's always tons of books. And this is her kind of domain really. But I've also always given my children quite grown-up furniture. So it's got this rug, which is an early 20th century Chinese rug. So it's a kind of really great piece. And then this vintage leather armchair, which is on casters. No, it's not, it's on gliders, but it's easy to kind of pull out and sit at. And she's got an Arnie Jacobsen desk light. So yeah, I've always given them really good pieces so that they just stand the test of time and they kind of grow with them. So this is a super practical, really efficient space. And then it's got a little shower room off here. So she's completely contained. She likes coming up here and vanishing forever. And in fact, she had a sleepover here with about five friends, I think, at Christmas. And so it's decorated in a way that sort of has longevity, feels modern. She can kind of take ownership of it. I think the built-in wardrobes are really important and the built-in wall lights. And it's the only room in the house is a very English thing to have air conditioning because we're not very good at putting air conditioning in. But in this room at the top of the house, it really needs it because in the summer it's impossible. So this is a nice kind of cool room to be in. So it's really designed so that every, we can maximize every inch in here. And it's a really usable space now. I really love my home and it's a real sort of retreat and a sanctuary from the outside world. And it has to sort of work really hard on a practical level. So I want it to feel like a sanctuary and an escape. But I also want it to feel, you know, I constantly have new ideas and I definitely treat it like a bit of a laboratory and I'm happy to change things. And, you know, I'll kind of think, actually, I'm bored of that colour scheme and let's do something completely different. And that definitely happened a year ago when I turned 50 and suddenly kind of thought, God, the teenagers, they're teenagers now, they're not, they're not sort of all under five or under 10. And I just wanted this more sort of grown up aesthetic. So this whole ground floor was sort of redesigned with that in mind. And just more sort of a sophisticated palette that I felt sat better with where I'm at right now, which is definitely, you know, about being classic and modern, but sophisticated, more neutral, just a bit more sort of gentle and low-key. Bye, Homeworthy. Thanks so much for coming. I loved showing you around and we'll see you soon. Thanks for watching. Be sure to go to homeworthy.com for exclusive content, shopping guides, and so much more.