Case Study

A Riverside Queen Anne House, West London

Designed by Wiggy Hindmarch

On a quiet stretch of the River Thames in West London, where the tide dictates the rhythm of the day and the horizon remains uninterrupted by development, a Queen Anne house sits with an ease more often associated with the countryside than the capital. With gardens to both front and rear - and a private riverside plot that drops gently into the water - the house carries a rare sense of retreat. It was this atmosphere, as much as the architecture itself, that drew Wiggy Hindmarch to it. “It has a sense of an old country house,” she reflects, “where one is never in a rush to leave.”

Hindmarch’s path into interiors was not a conventional one. As the founder of the clothing brand Wiggy Kit, her approach is instinctive rather than formal - shaped by an understanding of colour, texture, and how things are worn, lived in, and experienced. That same sensibility now informs the interiors of her home. Her aesthetic sits somewhere between the preppy and the bohemian: classic at its core, but gently disrupted. “I like to see the hand in things,” she says, describing a preference for artisanal irregularity, for pieces that feel touched rather than manufactured.

The house itself, though already charming, had been last decorated more than a decade prior. Its bones were sound, its spirit intact, but time had begun to show. Rather than rush into change, Hindmarch chose to live with the house for several years, allowing it to reveal how it wanted to be used. With two young daughters at the time, the decision to wait proved decisive. “Renovations are expensive,” she notes, “and it’s important to get them right - to build for the long term.” When the work eventually began, it was comprehensive but not structural: a full refurbishment that respected the original layout while refining the way each room functioned.

Nowhere was this more considered than in the bathrooms. Previously, they had been a point of compromise - charming, but impractical. The principal bathroom offered the greatest opportunity. Originally arranged around a roll-top bath positioned beneath a large window, it possessed an undeniable romance but little functionality. There was no shower, storage was limited, and daily routines were fragmented across floors. In its place, Hindmarch has created a space that feels both expansive and deeply personal - a
room designed not simply for utility, but for lingering.

At its centre, a marble-clad walk-in shower forms a kind of architectural pivot, open on both sides and offering a full view across the room. Beyond it, the freestanding Tamar bath sits before the fireplace, reclaiming the sense of ceremony that defined the original layout. On either side, bespoke commodes act as vanities, reinforcing Hindmarch’s instinct to treat the bathroom as a furnished room rather than a purely functional one. The WC, discreetly repositioned, recedes from view.

This idea - that a bathroom should feel decorated, lived-in - underpins the entire scheme. Walls are papered rather than tiled, rugs soften the floor underfoot, and lighting is deliberately domestic: “I didn’t want anything clinical,” she explains. “It had to be somewhere you could sit, even while someone else was bathing, and have a conversation.”

Drummonds fittings were chosen for both their material integrity and their visual language. Their solid brass construction and traditional casting methods sit naturally within the house, lending a quiet sense of permanence. “They are the crème de la crème,” Hindmarch says simply.

A hand-painted wallpaper by Martyn Lawrence Bullard introduces movement and depth, offsetting the solidity of book-matched marble. Existing shutters are softened with ladder-stitched linen, while an upholstered chair, antique rug and birdcage lantern lend a sense of ease. The effect is one of contrast: decorative yet anchored, expressive yet composed.

Upstairs, the cabin room has been reimagined with a lighter touch - a compact arrangement that makes inventive use of space, with a small tub and cleverly concealed sanitaryware.

Throughout the house, there is a consistent emphasis on patina and the passage of time. This is particularly evident in the powder room, where unlacquered brass fittings have been left deliberately untouched. “I like seeing the age,” Hindmarch explains. “The watermarks, the tarnish - that’s the beauty.”

This sensitivity to atmosphere extends beyond the physical. Ritual plays its part too: dimmed lighting, the presence of scent, the quiet indulgence of a long bath. “I cannot live without a bath,” she admits, describing evenings shaped by warm water, candlelight and the familiar comfort of routine that allows the outside world to fall away.

Ultimately, the project reflects a broader continuity between Hindmarch’s work in fashion and her approach to interiors. Both are rooted in layering - of colour, texture, narrative - and in an understanding of how people inhabit what surrounds them. “I see a story,” she says, “and then I build on it.”

In this riverside house, that story unfolds gradually, room by room, detail by detail. It is a house that does not seek to impress at first glance, but to reveal itself over time - much like the materials within it. And at its heart, the bathrooms embody that same quiet confidence: spaces shaped not by trend, but by instinct, craft, and the enduring appeal of things made well.

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