Berties of Otterburn

The wide mustard headboard reaches beyond the pillows and across the bedside setting. Against the blue panelling, its colour becomes the room’s main point of contrast. Black adjustable lamps and mirrored cabinets frame the upholstery on either side.

Buttoning creates a repeating diamond pattern across the headboard. Light and shadow make that pattern visible without adding a printed motif. Two matching square cushions bring the mustard colour forward onto the white bedding.

Other photographs show the same colour family at different scales: a taller panelled headboard in one room and a compact rectangular version in another. Together they show how colour and buttoning can connect otherwise distinct settings.

In the dark floral room, the headboard rises almost to the ceiling. Its generous surface gives the flowers space to become a major feature of the interior. The dark ground of the print relates to the walls, while the brighter flowers bring contrast.

The fabric continues onto the upholstered bed base and small cushions. White pillows and bedding separate those patterned areas, allowing each one to remain visible. A black buttoned sofa at the foot of the bed adds a different surface and a lower horizontal line.

The result is a layered setting: a tall decorative backdrop, smaller matching accents and a plain foreground piece, all visible in the wider room photograph.

Another floral headboard uses its shape as part of the design. The outline narrows towards the top, rises into a rounded crown and sweeps outward towards the lower sides. A line of decorative studs follows that edge.

The floral fabric sits within this defined border. Behind it, the charcoal wall panelling provides a quieter geometry, making the curved profile easier to read. Black cushions and a small round teal cushion introduce separate shapes in front.

This room offers a different interpretation of a statement headboard: the silhouette is as noticeable as the fabric, and the edge treatment gives the two a clear relationship.

The cactus-print room takes a brighter direction. A tall rectangular headboard, upholstered base and bed runner repeat the same botanical fabric. White panelling and bedding create a light background around its green, pink and darker tones.

The nearby floral chair and patterned cushions add further layers, while the broad headboard keeps the main motif easy to see. The scale of the print matters here: it can be read from across the room as well as in the smaller repeated sections.

A second botanical setting appears in the gallery and film. There, birds and flowers sit against deep blue panelling, with matching fabric on the bed base and nearby seating. The two rooms share an approach to repetition while retaining very different atmospheres.

The deep blue sofa places the upholstery within a different setting. Its buttoned back continues into the arms, while the seat presents a broad, relatively simple surface. Small turned feet lift the lower edge above the floor.

The blue upholstery sits alongside blue walls and a pale floral wallpaper pattern. That close relationship in colour allows the depth of the buttoning and the curve of the arms to stand out.

The wider gallery includes the staircase, venue exterior and D&P van on site. These views place the furniture within Berties as a whole, extending the story beyond the individual bedroom photographs.