The Original Bed Co.

Pellini, iron bed frame in duck egg blue, V-brace headboard and footend.

Before, the room was beige and quiet. Oak frame, white walls, grey linen, an empty picture frame above the bed and a jute rug underfoot. Nothing wrong with it. Nothing to it either.

Then the walls went warm, Farrow & Ball's Dead Salmon, and the whole room changed temperature. The new frame in duck egg blue, cool against the plaster pink. A grid of eight coastal watercolours built up above the headboard. Pink lacquered nightstands either side with glass oil lamps on top, tulips on the windowsill. Bedding last: blush and blue ticking stripe, a gingham cushion, a fringed peach throw and a teal blanket across the corner, then a hunting-scene rug covering the floor.

Same room. Different room entirely.

Link in bio to find yours.

Ballina, iron bed frame in navy, scrolled peacock-fan headboard and footend.

Before, the room was a hand-me-down. A cheap pine slatted frame, a dusty rose comforter, stained beige walls, worn pink carpet, and a garden gnome standing guard on the nightstand.

Then the walls went up in a dusty blue floral, ditsy roses trailing top to bottom. The new frame went in, navy iron with a scrolled medallion at the centre of both ends. Grey nightstands either side, terracotta lamp bases under pleated cream shades, a coil of rope for texture, and a brass bell mounted by the door. Bedding last: a floral quilt bound in coral, gingham and ticking-stripe cushions, tasselled corners, and a faded medallion rug layered over the carpet.

Same corner. Nothing else survived from before.

Link in bio to find yours.

How many cushions are too many?

They make the bed look beautiful. Then bedtime arrives - and they all need somewhere else to live.
Does it frustrate you to remove the cushions and put them back every time?
Where do you draw it: 0, 2, 4… or no limit?

Timolin, iron bed frame in sage blue, arched headboard and footend.

Before, the room was undecided. Moss green walls, mismatched mustard and plaid bedding, mauve curtains that fought the frame, bare concrete floor scattered with flooring samples.

Then it settled. A dusty pink Art Nouveau wallpaper went up, sage curtains matched to the frame, a floral carpet laid down with a heather rug over it. Three vintage prints hung above the headboard, a stoneware jug of dried flowers at the foot, a fern on the nightstand. Bedding last: pink and white florals, candy-striped pillowcases, a gingham cushion and a ruffled edge tying it together.

Same frame. Same corner of the room. Everything else found its place.

Link in bio to find yours.

Paris, iron bed frame in satin black.

Before, the room was tired. Mustard walls scuffed and marked, a heavy scrollwork bed in aged pewter, beige carpet, mismatched furniture left over from another era.

The carpet came up first, original floorboards underneath. Farrow & Ball's Calke Green went over the old mustard, panelling and all. Floors painted pale to lift the room. Then the new frame went in, simple iron bars and ball finials in place of the old scrollwork. Powder blue furniture throughout, a bookcase, a writing desk, a chest, a blanket box. A gallery of fashion sketches built up above the headboard, a antique rug grounding it all, green and cream bedding layered to match the walls.

Nothing here is the room it started as.

Link in bio to find yours.

Alva, iron bed frame in satin black, scrollwork headboard and footend.

Before, the room was stripped. Bare plaster, a metal utility shelf, a single flat blind, plain linen on the bed.

The wallpaper went up first, a soft sage toile that changed the light in the room straight away. Then the curtains, sage velvet with a tasselled pink trim. The rug unrolled over the painted boards. Bedding last, damask in green and cream, a coral cushion for contrast, rattan lamps either side, a set of four city sketches above the headboard, and a dusty pink dressing table by the window.

Same frame. Same floor. Everything else earned its place.

Link in bio to find yours.