How to get the Regency look

Walls

The quality of paint improved enormously in the Regency period. The use of chemical dyes and improved manufacturing methods meant that paints were brighter and more consistent. However, it does seem that wall colours were meant to be a background and a contrast to textiles, carpets and upholstery. Even the brightest colours had a deep base and a rather earthy quality. Although several companies have produced historical ranges only Farrow & Ball and Fired Earth seem to be able to achieve the depth and subtlety of period schemes.

Recommended colours include for halls - Farrow & Ball No 21 Ointment Pink (based on the Regency colour schemes in Castle Coole, Co Fermanagh); for livingrooms, Farrow & Ball No 68 Dorset Cream/Fired Earth Oxford Ochre or Weld Yellow (warm mellow colours without the coldness often associated with yellow hues); for diningrooms, Farrow & Ball No 48 Fox Red (an earthenware red that is warm without being overbearing).

Whatever the period, here are some golden rules to follow: flat emulsion is the closest commercially available substitute for traditional interior wall paints. However, if you wish to be more authentic use Casein distemper which is very flat and rather chalky; but be warned, it comes only in pale shades.

Paint finishes were very popular during this period as a rapid way to imitate marble, expensive woods and stone. Today paint finishes should generally be confined to either walls or woodwork and should be seen in contrast to flat painted surfaces.

If the woodwork is flat painted, use oil eggshell and never use brilliant white: always a broken or off-white: this will look subtle and warm - particularly if it is the palest colour in the room. Pull the room together by using the same colour on the ceiling but in flat emulsion.

Floors

Fitted carpets became increasingly popular during the Regency period as expectations of comfort increased. They generally had a plain ground with tiny foliate or large geometrical repeating patterns. Modern equivalents abound but unless they are specially woven, such as the majestic one by Donegal Carpets in the Brighton Pavilion Music Room, they look contemporary and rather flat.

Oriental and Portuguese rush matting was also popular and modern approximations are to be found in the finer weaves of coir, seagrass or their cotton lookalikes. Rather than fitting the carpet, it can be treated as a large mat and have the edges bound with a coloured tape.

Fabrics

A tremendous number of fabrics based on Regency designs have been reproduced by Brunschwig & Fils, Colefax & Fowler and Baker and many other fabric houses and the reproduction quality varies according to the price tag. Generally, modern screen printing and dyes give a rather harsh and uniform appearance to prints. In order to get that hand-printed look a great deal of money needs to be spent per metre but if you have it, take a look at the American Lee Jofa range of printed linens.

Perfectly plain and affordable cottons, on the other hand, will allow more fabric and a more generous and relaxed appearance. Do not interline Regency curtains - the extra bulk makes them overpowering and stiff. Equally, keep the headings loosely gathered and don't use pinch pleats.

Curtains can be acquired gradually: some people are content with sun curtains made of sheer cotton or voile, the most attractive being modern Swiss muslin (not butter muslin). These can be hooked back to achieve a graceful line which can be accented by using a coloured tape on the leading edge. Trimmings are expensive but if they are affordable avoid those made of mercerised cotton (silk imitation) and opt for plain cotton or wool which can be dyed if necessary.

If curtains are beyond the budget, start with blinds: cream Irish beetled linen seems unavailable now, but modern equivalents are cotton in beige or champagne colours. It is most important to use brass fittings and wooden toggles, have the edges seamed and avoid fringes.

As for sources, remember - wading through pattern books is not for the fainthearted. It is worth paying a designer to advise and help you choose. Ask around and consult the IDDA for a list of accredited designers. It is always worth checking out suppliers of seconds and end-of-line fabrics for cheaper alternatives.