The painting on the left left was purchased at the Battersea Antiques Fair, the artwork right is from A.Prin Art. The hardwood antique Batavian table was supplied by Sibyl Colefax. The lamp with a custom woven shade by Tarquin Bilgen. The glazed linen of the curtains is Rose Tarlow through Tissus d’Helene.
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While grounded in classic design, art and antiquities, Bill has a unique talent of taking traditional designs and transforming them into today’s classics. You know the moment when you walk into a room and know it’s something special? That’s the essence of Chelsea’s House. We combine a love of classic design, joyful colors, and fine materials to create furniture and accessories that make a room feel both welcoming and magazine-worthy. Do you have trouble standing still, staying in your lane or hiding your light?
Hampton Inn Madison Square Garden
The vase is Monart, supplied by Mimi Roberts. “It’s so important to question yourself about how you use your house,” says Daniel Slowik. “When was the last time you actually used your dining room? If you have a spare room in London but all your friends also live in London, do you really need it? Should you splash out on a high-tech kitchen if you don’t cook very much?
“A fitted kitchen at the time was an excitingly modern concept and you see these sorts of cupboards on yachts.” The tiles were inspired by the designs in early 20th-century tube stations, and Daniel made trips to Russell Square to inspect the details. While increased functionality was one important part of the client’s brief, the other was to bring plenty of colour into the interiors. Shades of green run throughout the house, from Farrow & Ball’s ‘Cooking Apple Green’ on the walls of the drawing room to the bright jade of the Jean Monro curtains in the bedroom.
OUR DESIGN TEAM
Red elements provide a cheerful contrast – the rich chintz of Claremont’s ‘Tree of Life’ on a slipper chair, and a graphic blind in Nicky Haslam’s ‘Shutter Stripe’ in the kitchen. The panelled chimney piece in the drawing room was made for the room based on a 1930s model. Although the original was marble, the Deco / Arts & Crafts inflections of the building made painted wood more suitable.
A 1930s Chelsea apartment reconfigured for modern life by Daniel Slowik
- The lamp with a custom woven shade by Tarquin Bilgen.
- Our vision is to be a partner, supplier, and source of inspiration for fresh ideas, timeless home furnishings, and statement-making designer touches.
- Daniel had chimneypieces made for the drawing room and snug that mimic modernist designs of the time, but in wood rather than stone or marble.
” All were questions that came up during the renovation of this mansion flat in Chelsea, owned by the daughter of a longstanding client of Daniel’s, and the eventual answers have made it a considerably cleverer and more functional space. Our vision is to be a partner, supplier, and source of inspiration for fresh ideas, timeless home furnishings, and statement-making designer touches. Each of the products in our curated line of furniture, lighting, art, mirrors, and decorative accessories is destined to inspire and delight. Chelsea’s House Looking towards the balcony, where the original crittall windows were restored. Daniel added a custom trellis grille and refloored the balcony in an engineered non-slip stone, as this forms an additional route to the bedroom in the warmer months.
Since 1974, our family-owned company has focused on delivering quality, handcraftsmanship, and design leadership—backed by a commitment to supporting our customers. “I think with small flats in the city you want a bit of restraint, a sense that things are under control,” says Daniel. Simple, uncluttered, and extremely well thought-out in the way that it works, this one is rather the dream for all of us London-dwellers.
The 1930s origins of the building were another fruitful source of inspiration. “I wanted it to have a bit of an Agatha Christie feel,” says Daniel. Daniel had chimneypieces made for the drawing room and snug that mimic modernist designs of the time, but in wood rather than stone or marble. “I felt strongly that they shouldn’t be marble,” he says. “Wood felt more sympathetic to the mood of the building.” The mouldings and skirting boards are all done to a period design too, but the pièce de resistance is the kitchen, which was designed by Daniel and made from scratch. “I became obsessed with 1930s utilitarian kitchens.