Meet the… maker, Cornelia Faulkner

How did you come to your career as a specialist decorator?

A very long time ago, I worked at Christie’s Action House and was surrounded by very pretty painted Regency furniture. I thought it would be interesting to learn the craft of painting furniture, so I began work with Salvatore Titian, an antique restorer, in Notting Hill. The team worked with John Fowler amongst a collection of other important names in interior design, gilding, lacquering and restoring for some of the most sought-after homes. I began restoring antique painted furniture when a friend of mine introduced me to Jim Smart, a restorer who had a great flair for whacking on paint. He was the master of stripping, dragging and rag rolling paint. I had good attention to detail, so was able to progress and hone my skills.

What draws you to the materials you work with?

The texture that you can achieve with our paints can be as varied as the colours we mix to our clients’ specifications. The marbling, wood-graining or lacquer effects you can achieve are really pretty and can make a room sing. We always used a scumble glaze and add our own colours to it for a depth you can’t achieve with a normal paint or wallpaper finish.

Why is handcraft important?

There have always been very good rangers of wallpaper available, but hand-painted walls are so much more interesting. Some rooms are very difficult to wallpaper, too, so sometimes hand-painted patterns or effects are easier to achieve. In one memorable project, a client required the reproduction of some wallpaper from another room that had aged beautifully. Handcraft was important to us for this project as it allowed us to mix and apply the paint in a way that was sensitive to the brief, blending unexpected tones to age the soft pink colour of the wallpaper our client had inherited.

Describe your studio/workshop.

I don’t have one. One of the best parts about my job is that I get to work in beautiful homes and every project means a new office.

Do you listen to music while you work?

Occasionally. For the last 20 years, I have been working with my sister, so we tend to chatter away. We always seem to have so much to talk about, so often, the music is merely for the background.

Where do you seek inspiration or motivation?

My inspiration comes from the briefs my clients give me. Emma has a wonderful and strong sense of colour, so she will often give me a range of the fabrics she’s using in one of her clients’ homes, and I’ll advise on the paint colours. The layering technique we use to create depth and intrigue is one that was adopted by John Fowler, and I always keep in mind a room he designed with walls of striking yellow.

Where do you see your pieces in the contemporary home?

Rooms large and small each benefit from the richness of paintwork. Emma’s sense of colour marries so well with our paintwork, and it’s always a thrill to see the rooms come together.

Any favourite client commissions or projects?

One of my favourite projects has actually been one of my most challenging. The Jockey Club rooms is a majestic space, filled with fantastic paintings and furniture. There were three of us working non-stop to paint the vast walls within the tower-like space using a crosshatching style to apply a mustard colour. It was all about pace and scale to ensure the final finish was consistent.

How do you wind down at the end of the working day?

With a very long scented bath with lots of bath oils. It’s grubby work on these building sites and I don’t like to wear gloves when I paint to give myself more control over my brushes.

What’s next for you and where can customers find your work?

I don’t use social media and I find I don’t need to. Our next projects are in London, where I’m based, and we will also be helping Emma’s mum with her new house - such a pleasure.