Silver Instead of Gold, and Why the Damask Is Oversized
Two decisions define this bed. The first was to finish the carving in antique silver. Gold on carved teak reads warm and ornate and works beautifully against ivory or cream; against a saturated blue it fights. Silver-champagne recedes, and the effect is that the blue looks deeper and the carving looks sharper, because the eye reads the highlight as shadow-edge rather than as ornament in its own right. The second decision was to scale the damask up. A small repeating pattern on a footboard of this size disappears into texture from three metres away. Enlarging the motif means the footboard still reads as pattern from the bedroom door.
The upholstery and the carving are done by different hands. A carver shapes the teak surround and the pierced crest with chisels, working from solid stock so the pierced sections are cut through rather than assembled. The frame is then sealed and the silver applied and aged by hand along the raised edges. Only after that does an upholsterer stretch and button the blue panels into the finished frame, which is the slow way round but the only way to get the fabric sitting tight against carved edges without gaps. The images on this page are of the actual piece, not a rendering.