Interior Design Trends | Spring 2026
Heritage Interiors, Curved Furniture, and Layered Textures. Three directions worth exploring, and none of them require a designer.
There's a particular feeling that comes with scrolling through an interiors editorial. You stop on a room. You think, that's nice. And then you scroll on, as if the whole thing was meant for someone else entirely. Someone with a better eye. More confidence. Probably a bigger budget.
It's worth asking who put that idea in your head, because it didn't come from nowhere. Interior design has spent decades presenting itself as a discipline that requires specialist knowledge, expensive taste, and the right kind of instinct. Most of that is performance. The truth is considerably less intimidating: good rooms are made by people who trusted themselves enough to try something, lived with it, and adjusted from there. Every stylist and designer whose work you've ever admired started with a room they weren't sure about. The difference isn't talent. It's follow-through.
This season, three interior design trends are worth paying attention to. Not because they're telling you what your home should look like, but because they're all, in different ways, about giving yourself permission to make it feel like yours. We've also written about three interior styles worth knowing for 2026 if you want to go deeper on Quintessential English, Scandinavian, and Neo Deco.
Trend One
Heritage Interiors
Most people's homes are already a heritage interior. They just haven't noticed yet. There's the chair that came from a parent's house. The dining table bought secondhand because the proportions were right. The lamp that doesn't quite match anything but has been in the same corner for six years because somehow it works. That accumulation, things arriving at different times for different reasons, is exactly what heritage design is built on. It's not a style you buy into from scratch. It's one you probably already live in.
What the current interest in heritage interiors actually offers is permission to stop fighting that. The instinct most people have is to make everything coordinate, to feel like the room has a consistent logic, to buy matching sets because at least then nothing clashes. Heritage design pushes back on that directly. Furniture that arrived gradually, from different eras and different places, creates depth that a showroom set never can. The mismatched dining chair you kept because it was comfortable. The sideboard that's slightly the wrong colour but has been there long enough to belong. These things aren't problems. In a heritage room, they're the point.
The Ashby Collection works well as an anchor for this in the living room. Deep button detail, rolled arms, traditional proportions. The kind of sofa that looks like it has history, which makes everything around it feel more considered by association. At the dining table, the Lainston dining chairs carry the same quality of craftsmanship: limewashed finish, oval backs, a warmth that holds its own next to both traditional and contemporary tables.
The one thing heritage interiors don't reward is excessive caution. The look works best when something in the room creates a little friction. A lamp with an unexpected shape, complemented by a shade with a pattern that strangely resembles amoeba. A rug that doesn't coordinate but belongs. A print on the wall that has nothing to do with the furniture and everything to do with whoever chose it. A room that coordinates too perfectly doesn't feel inherited. It feels purchased.
Ashby Collection
Traditional proportions, deep button detail. The kind of sofa that looks like it has always been there.
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Lainston Dining Chairs
Limewashed finish, oval backs. Craftsmanship that holds its own next to any table.
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Curved Furniture
Straight lines are easier to design around. They're predictable, they stack neatly, they don't ask anything of the room, which is also what makes them forgettable. Curved furniture does something fundamentally different. It changes not just how a room looks but how it feels to be in it. Rounded edges reduce visual tension. A curved sofa draws people into the space rather than arranging them along its edges. Soft shapes make a room feel like it was designed for the person in it, not the other way around.
This isn't a difficult thing to introduce. It doesn't require pulling everything out and starting again. One piece is usually enough to shift the atmosphere of a room. A curved sofa where a rectangular one sat before makes the entire space feel warmer. A round coffee table next to angular furniture doesn't create a conflict. It creates balance. That word matters. The best rooms aren't uniformly curved or uniformly straight. They use contrast the way a good cook uses seasoning: not to dominate, but to bring everything else into focus.
The Amboise is the natural starting point. A curved sofa that works as an anchor piece without demanding that everything around it follows suit. Pair it with the Maru pedestal tables and you've got the curved language extending through the room without over-committing. The Granvia and Greenwich collections extend the options further. Browse curved sofas to see the full range.
The hesitation most people have with curved furniture is practical: will it fit? Will it work with what I already have? Both reasonable questions, and answerable without committing to anything. Measure the room properly. Consider where the curve faces. A curved sofa facing into the room feels inviting; facing away, it can close a space off. Beyond that, the concerns are usually more imagined than real. Curved furniture has been sitting in British homes for well over a century. It's not a gamble. It's just a shape that's fluctuated in and out of fashion for a while.
Take the risk. You'll probably wonder why you didn't sooner.
Amboise Curved Sofa
The anchor piece. Curved form in ecru bouclé that doesn't demand everything else follows suit.
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Maru Collection
Pedestal tables and storage that extend the curved language through the room without overdoing it.
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Trend Three
Layered Textures
Texture is the part of interior design that photographs least well and matters most in person. You can look at a room full of layered fabrics and understand it intellectually. The bouclé cushion, the velvet throw, the chenille footstool. But you don't really feel it until you're sitting in it. That's the point. A room that's purely visual is a room that works in pictures. A room with varying texture is a room that works when you actually live in it.
Think about it the way you'd think about a good meal. The things that stay with you aren't the ones that were all one note. They had contrast. Sweet against sour. Soft against crisp. The satisfaction isn't from any single element. It's from the way they relate to each other. Texture in a room works the same way. A velvet cushion lands differently on a linen sofa than it does on a matching velvet one. A bouclé armchair next to a smooth oak table creates a conversation between materials that a room full of the same surface never could.
The distinction between bouclé and velvet is worth understanding, because they're often grouped together and they're genuinely different experiences. Bouclé is nubby and matte. Casual warmth, the kind of texture you notice without being able to stop touching it. It works in living rooms and bedrooms equally, doesn't stand on ceremony, and softens a space without making it feel precious. Velvet is smoother and more directional. It catches the light differently depending on how you sit, has a quiet richness to it, and reads more thoughtfully rather than relaxed. Neither is better. They're different registers, and the most interesting rooms use both.
Boucle furniture and velvet are the two fabric families worth exploring here. For the bedroom, the Archer Ottoman TV Bed in both taupe bouclé and moss green velvet shows exactly how differently the same form reads in different textures. Not just aesthetically, but in terms of what the room feels like to wake up in. Browse boucle sofas and velvet beds to see both families properly. Chenille sofas offer a third texture in the same palette: slightly softer and more ribbed, a supporting note rather than a lead.
Start with cushions if you're not sure. They're low commitment and they teach you a lot about what you're drawn to. But don't stay there forever. A cushion on a sofa you don't love won't fix the room. At some point the texture needs to be structural. A sofa, a bed, an armchair that you actually sit in every day. That's when the difference becomes something you stop noticing consciously and start just feeling. Which is the whole point.
Archer in Bouclé
Nubby, matte, casual warmth. The texture you notice without being able to stop touching it.
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Archer in Velvet
Smooth, directional, quietly rich. A different room entirely from the same form.
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You don't have to pick one
These three trends share more than they differ. Heritage pieces work alongside curved furniture. Layered textures sit as easily in a heritage room as a contemporary one. The common thread is a preference for warmth over sterility, for rooms that feel inhabited rather than arranged. Use that as your guide rather than treating each trend as a separate system to adopt.
The other thing they share is this: none of them require certainty upfront. You try something. You live with it. You adjust. Sometimes you follow through on an aesthetic and decide it doesn't work with your room, your house, or the rooms around it. That's a completely legitimate outcome. That's one thing understood, one less question you'll spend years sitting with. The opportunity cost of not trying is higher than most people account for.
Your home is not a showroom. It's not a mood board. It doesn't need to resolve into a single coherent stylistic statement before it's allowed to feel good. It just needs you to start somewhere, and then trust what you find out.
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Find the pieces worth keeping.
Ashby Collection Curved Sofas Boucle Furniture Velvet Furniture
