In case it passed you by, Kin House is the Wiltshire hotel-of-sorts known for its riotous take on the classic Georgian manor. From the outside, it has all the hallmarks of a period country home but cross the threshold and it’s a wonderland of playful eccentricity.
If you're into interiors, you’ve probably already fawned over the tortoiseshell bar, chequerboard rugs and those upholstered, free-standing tubs on social media – but has anyone you know stayed? Likely not, as the 12-bedroom venue is private hire only, meaning you’d have to take over the entire space to experience these delights first-hand. But this is the magic of Kin; while most of us have never been, its social media success marks a new age of Instagram-famous venues with future guests pouring over every detail before stepping through the door.
Its unique appeal is not lost on Lucy and Josh, the co-owners of design studio Barlow & Barlow. Called in for their signature cocktail of colour and pattern, combined with a deep appreciation for Georgian architecture, they describe themselves as a “traditional design studio for a younger generation”. So, taking a traditional manor house and turning it on its head couldn’t have been more perfect.
Here, we speak to Lucy Barlow about Kin House’s interior journey, her passion for celebrating English design and the question we all want answered – how to try this aesthetic in your own home.
How was this project different to anything you’ve done before?
“Kin House was a new challenge for us in many ways. Until now, our studio had worked with residential clients who usually approach us – going after Kin meant pouring all of our dream ideas into a pitch before we got the job and feeling out that chemistry with the owners, Matt and Gaby.”
“As the property is private hire, guests needed to feel that they could make the space their own while being struck by its unique personality and character. It was walking a tightrope of making an impact and creating a scheme neutral enough to belong to many people.”
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Did you consider how social media might factor into the way Kin was received?
“Interior design has burst into the public consciousness in a new way over the last few years. Of course, it’s always been there. But through continued exposure on social media, people now take a great interest in the interior design of the hotels they’re staying in.”
“Kin won’t have the same kind of foot traffic as a hotel you can stay at every night of the week, so we needed to be clever about how our ‘wow moments’ would be shared. I’m thrilled with how people have received it and that so many people already know about the hero features we created.”
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Are there certain ‘wow moments’ you always knew people would love?
“It was favoured in Georgian architecture to have a pediment over a doorway and Kin House has a beautiful example of this with its large, moulded scallop which greets you upon arrival. This icon inspired the interior scheme in many ways, big and small – including the shell grotto (pictured above).”
“With a Grade II-listed building, there are always going to be features that you have to honour and shape to suit the building’s new purpose, so when we found a niche in the wall of a passageway I thought this would be an excuse to try a shell grotto. We wanted the overall aesthetic to feel soft and romantic, so the design uses a profusion of the same shells for an effect that is similar to a murmuration, twisting and turning in front of your eyes. We focused on abalone shells because of their iridescent luminosity, highlighted beautifully by mantle scallops to bring through those pink and purple hues. The finished look is almost magical.”
“The Dressing Room has also been a big hit. This was supposed to be incredibly fun with a mix of patterns and boudoir glamour. I was excited to include some Blithfield IKAT fabric and bespoke ombre sofa for added character.”
“And then, I would say the upholstered baths (pictured above). When I saw the ‘shell grotto’ fabric by Fermoie, I wanted to do something different and make the tubs into a special feature.”
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Any other listed features that became a big part of the design?
“When we first looked at the Hearth Room (pictured above), this gorgeous wall panelling had been ruined with layers of yucky varnish and paint. We sandblasted this back and rechristened it with Sobek from Paint & Paper Library, but I didn’t want the space to feel ‘new’. I believe interiors are biographical, and we’re here to tell the story of Kin, who she was and who she is evolving to be. To show this journey, we left polished plaster on the top half of the room to show how we’d stripped everything back and roughen things up a bit.”
“We were also told to rework an original wooden frame protruding from the wall in the boot room (pictured above). We dressed it with rich curtains and turned it into an impromptu dressing area in case someone arrives for a party and needs somewhere to get changed quickly. I really like that.”
How else did the building’s history lead the design?
“History is always the best resource – there is no such thing as a new idea; we reimagine what we love from the past. I adore old buildings, and much of my research was done walking around big, period homes. I wanted Kin to feel like a completely bespoke private home; no two bedrooms are the same, and there are antiques everywhere, which I think gives a space soul.”
“As much as there are on-trend elements, I felt the house should feel eccentric. So I sourced a display stand of shells from an auction which feels very Grand Tour-esque. You can imagine someone touring the continent and bringing artefacts home to show friends, which is a very Georgian thing to do.”
“We also, with the help of a brilliant independent company called Petri Prints, sourced small sets of lithographs of shells and seaweed originally published in the 1800s and had them carefully reprinted on specialist Hahnemühle Hemp fine art paper. We then presented them in a way that felt like a collector or hoarder might have held onto them for years.”
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For those who love Kin House’s aesthetic, how would you advise they try the look at home?
“I love the Georgian period because of its sense of drama; I like walking into a room and being surprised, thinking ‘, I didn’t expect that to be there!’. It’s about the high-low; you can spend more money on a ‘wow moment’ and then use markets and auction houses to buy antique furniture that’s less expensive but also gives the room soul.”
“Mix pattern; a simple way to do this is with gingham. We used gingham in the bedrooms because it’s classically English, soft and feminine but pretty much everyone likes it. You can layer gingham with stripes, florals, chequerboard – almost anything. Just make sure your scales aren’t too similar or too far apart; one should be slightly bigger than the other.
“And, if you’re itching to slap some paint on the walls, I suggest Setting Plaster from Farrow & Ball. We used this shade in the Fitz Bar (pictured above) because it’s understated but still pink!”
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Are there any British brands you worked with and would like to spotlight?
“Pelican House collaborated with us on the chequerboard rugs that you can see throughout the space, which have become an Instagram hit.”
“We used Pooky Lighting for lampshades, so that’s easy to get your hands on. I particularly like the gingham shades for ceiling lights and pointed ones for bedside tables.”
“If you want to fill your walls with art, I would really recommend working with Petri Prints, who source and frame artwork for you. Framing was an important part of our scheme – we experimented with stripes, colours and mounts, and it makes a huge difference.”
Get the look
This is how to get the Kin House aesthetic in your own home this season…
