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For some time now, there has been a lot of talk in the press and on social media about the Old Money style, which literally means a fortune inherited and not made. In an era when everything has become ostentation and a measure of one's social status, the attraction of the Old Money style stems from the fact that Old Money status is in fact unattainable because it is not bought and not made, but inherited. Compared to what we see on social media, along with money, old money people have also inherited a style and understatement that the new rich do not have. Old money, characterised by discreet luxury, an emphasis on quality and a classic aesthetic, is a reflection of traditions and deep values passed down from generation to generation.
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True elegance does not come from what is trendy, but from what is timeless, since what today is a style in dressing, yesterday was a lifestyle. While it is true that Old Money is born, it is also true that from Old Money people one can learn a lot about style in every sphere, from fashion to interior design. In fashion, for example, it is nowadays identified with the use of vintage accessories of classic brands and the choice of beautiful and valuable materials to be preferred over fast fashion, in home furnishing being old money means no less opting for objects made to last, made of noble and timeless materials. In particular in the use of quality and sustainable furnishing fabrics, far removed from passing trends and instead respectful of traditions albeit with a personal reinterpretation with a strong character. I insist on this point because old money people, while not feeling the need to constantly adapt to the latest trends, are not afraid to reinterpret pieces, both in their clothing and in their furnishings, that belonged to their grandmother or mother that represent a strong emotional bond and a continuity in taste for quality, mixing them with new elements.
A slightly passé aesthetic, if characterised by undisputed quality, is considered timeless and therefore perfect to be passed down through the generations with minor aesthetic touches. A sofa of good craftsmanship is then reupholstered, at the limit with new upholstery, just as chairs with a classic taste can be reused with minor restyling to adapt them to a more contemporary taste.
Grandma's embroidered linen tablecloths, if no longer suitable for today's different table sizes, become curtains, and silverware, even if with obvious signs of use, is also reused for the everyday table. Again, services of different and somewhat mismatched porcelain, but sharing the same colour, come together to form a new, more interesting and eclectic one, so as to create tables of unique beauty that is difficult to replicate with a new service. For the old money style, the great classics are always in vogue but at the same time fashion is not followed but created, with a personal and decisive style, made up of a creative mix of tradition, originality and class. And of course a good dose of creativity, which comes from a strong vision and decisive taste. Underlying this style is an approach to life that favours culture, travel and conscious choices designed to enrich the personality and wealth of experience rather than mere possession of objects or ostentation. Old money considers consumerism to be an evil and shuns expenditure considered superfluous if it is made for transient objects. If, on the other hand, it is for classic and durable accessories, then no expense is spared.
That is why Old Money houses, collect objects from travel, research and heritage, fluidly joined by the unique style of those who inhabit them and make them a second skin. With a fairly similar philosophy of life, our collections often combine with timeless classic pieces and reinterpret craftsmanship made to express quality and durability. The strong character of our table settings stems from a taste for beautiful and fine fabrics, mixed together in an eclectic way. The intention is to give our customers a timeless and ageless product suitable for classy people who aim for elegance and originality rather than indiscriminately following the trend of the moment.
The old money style, while appreciating the quality of products made with old-fashioned techniques and quality typical of some well-known brands, never makes itself the bearer of visible logos and trademarks, because what is ostentatious is never classy; but prefers the elegance of anonymity, easily recognisable to the expert eyes of those who share the same philosophy of life. Classic examples of this style made of sobriety and charisma are personalities such as Gianni and Marella Agnelli, the Kennedys, Grace Kelly, Audrey Hepburn or Queen Elizabeth, with her unparalleled casual and refined style during holidays in Scotland. If you are wondering where to find inspiration for this style, my advice is to look to the past. For my work I love to research collections and archives of photographs, images depicting houses and people of unquestionable elegance, but historical or classic films are also a great source of inspiration and it is always the details that capture my interest.
Recently, I rewatched some episodes set in Balmoral Castle of the series the Crown, finding many elements of the style I love and which I also incorporate in our collections. Fine fabrics of exquisite workmanship, authentic materials, made more with utility in mind, which makes them beautiful because they are consistent with the habitat. Colours blended and in tune with nature, a variety of styles and mixed nonchalantly, but never with the intention of prevailing. However, I emphasise that the old money style in a house is not in itself old and dusty, because it is constantly passing under the hands of careful and delicate refurbishment. Upholstery and objects put together in an unusual way thus acquire modernity without losing their identity.
An old money table, to give you an example, is dressed in linen with fine details such as a well-finished or embroidered border, but perhaps with colour combinations and a mix of patterns that looks casual but is instead studied with maniacal care. The napkins are always made of linen and can be matched to the tablecloth even though they seem to be taken from a different origin. The slight fracture that makes the combination less classic is well concealed in a colour reminder or a well-thought-out juxtaposition. I can only give you one piece of advice to guide you in your combinations. Start with a colour you like, add a neutral tone and a metal.
Never put too many colours on the same table but follow a common thread, alternating at most two tones, or following a specific theme. Experience the pleasure of knowing how to receive and set the table for any occasion, without ostentation or forcing but with a personal and refined style, never banal. Knowing how to navigate and juggle colours is a difficult and never approximate exercise that requires a trained eye. Lastly, using antique plates, glassware and cutlery is always an elegant choice worth investing a little money in.
