Rixo co-founder Orlagh McCloskey has turned a barren new build into a house full of personal touches
There is a quote by Henri Matisse on creativity that reads, ‘I have always wished my works to have a light joyousness of springtime which never lets anyone suspect the labours it has cost me.’ It's an apt musing on the true process of artistry, and one that feels applicable to Orlagh's house. The house may have been a labour, but the result is undoubtedly one of light joyousness.
‘I was looking for an unusual property. I didn’t want a two up, two down terrace,' Orlagh confesses, explaining the specific requirements she and her husband Brook had when hunting for a house. 'We wanted something with a more open plan layout that would suit our lifestyle, but we also needed somewhere that we wouldn’t have to change the structure. I knew I wouldn't have time to do that alongside my work.'
Given their long list of non-negotiables, the couple decided to circumvent the property market entirely, opting to buy directly from a developer Orlagh knew through a friend. The plot had been a redundant bit of land: an empty space behind a block of flats that had recently been erected. ‘It was done like a showroom, but I could see what I could turn it into immediately,' Orlagh says. ‘It ticked a lot of boxes.’
For the duo, the most important thing was an abundance of natural light. ‘Before buying this house, I was flat sharing with [Rixo co-founder] Henrietta. After our lease came to an end, she found a house quite quickly, but I ended up in an AirBnB in Shepherd's Bush for the first seven months of the pandemic.' She continues, ‘With the regulations in place, I couldn’t go and see it in advance. It was much darker and smaller than the photos suggested and made me understand just how important light is in a house. It really affects your mood.'
Thanks to the modern credentials of the house she bought, all Orlagh had to do was add a dash of flavour to the blank space. The first, and most effective, decision made was to paint the ‘landlord white’ walls in a Bauwerk limewash. ‘It gave the space the texture new builds crave.’ From there, Orlagh and Brook layered vintage finds with contemporary pieces, decidedly adding character as they went.
One of the greatest obstacles in the decoration of the house was its scale. Vast blank walls and double height ceilings made choosing furniture rather difficult. ‘Trying to find things to fit walls of this size…it’s impossible to source things that aren't ridiculously expensive.' Frustrated with the hunt for affordable art, Orlagh took matters into her own hands in the way only true creatives can; armed with canvas, paints and card, she cut out shapes inspired by Henri Matisse and painted her own large scale artworks. Brook then created bespoke frames for each of them.
Perhaps the most impressive and special thing about this project is the partnership between Orlagh and Brook. ‘Brook’s a carpenter and joiner by trade, so he had all of the skills and machinery required to make a lot of the furniture himself, Orlagh explains. ‘I would sketch and design things. He’d CAD it up and then make it.' Throughout the house, examples of their partnership are present. There's the cabinet in the living room that is a computer desk disguising itself as a Brutalist piece; the coffee table that Orlagh tried to track down for two years before deciding to make it herself; and the banquette seating handmade by Brook. It is a brilliant, and rare, way to add personality and individuality into a modern home. As Orlagh summarises, 'I’m the driving force for vision, and he makes it come to life.'
It wasn't just her husband Orlagh collaborated closely with, but her twin sister, who just so happens to be an interior designer. Founder of Cupla Studio, Gemma McCloskey was an invaluable font of knowledge throughout the project. Together they considered the lighting and layout, as well as digging through antique fairs and jumble sales to unearth treasures. ‘What’s so good about Gemma is she knows the products of her industry really well, as well as understanding my taste – just from being my twin.'
It was Gemma who finally cracked the code on what to do with the back wall in the living room. ‘She said to me one day, “Have you seen Matisse’s stained glass windows in the Chapelle du Rosaire de Vence?” I looked them up and they were perfect.' Orlagh drew up her own versions, looking to 1970s stained glass for further inspiration, before discovering Maya Glass Studio locally, who crafted the windows to their specifications. In situ, they provide an energising shot of colour, and cast a sacred light around the room.
The windows are intentionally one of very few permanent expressions of colour within the house. Orlagh has layered pattern and texture to create a rich tapestry that feels bedded in, without commitment. ‘Everyone who comes here says it looks like Rixo as a house,' she admits – and anyone familiar with the brand's beautiful, eclectic prints will likely agree. ‘The colour is all from the items and furnishings, which means you can just move things around if you get bored’: much like creating a new outfit from an existing wardrobe.























