The Art of Wonderment

The Art of Wonderment continues the theme of printed interiors - with an absolute gem from the British Pathé filmmakers. This time in Greenford, Middlesex 1968, showcasing more large scale printing techniques. 

The stunning production of hand routed and hand blocked wallpaper printing...

Justin Bishop Interior Design Workshops 2016

The first of our Classic Interior Design Workshops kicked of last weekend.

A great group of participants, from Melbourne's Guest Furniture Group made up the entire class, and were enthusiastic and eager to learn. Many thanks to Jess, Sharon, Elsa, Narelle and Corinna for taking part in the days activities.

With catering by Cafe de Beaumarchais it was a very enjoyable day!

We look forward to continuing the workshop series throughout the year.

Period Home Renovator 2016

The 2016 issue of Australia's Period Home Renovator magazine is out now.

I'm very happy to be part of the issue once again this year, in a double page editorial, featured below.

This issue features new ideas for traditional homes; some insightful period style articles, great imagery and the Period Renovator 2016 Buyers Guide.


Merry Christmas

From all at Justin Bishop Style & Design,
we would like to wish you and your family a very merry Christmas
and happy and safe new year.

We look forward to seeing you again in 2016.


Throughout the festive season,
we will be reporting in on our travels and design discoveries.

You will see everything right here, at 'Mr. Bishop - A Style & Design Journal' 

And of course, be sure to follow our activity on your favorite social media platforms by following the links below.

There is always something new to see.

Best Wishes,

Jae-Hyo Lee

As many if you are are I am a traditionalist when it comes to design. It has even been said that I'm 'anti modern'! However, from time to time a contemporary artist comes along who's work I find instantly appealing. Such is the case with the work of  Jae-Hyo Lee.

South Korean artist Jae-Hyo Lee is a master of manipulation. He turns discarded pieces of wood into attention-grabbing pieces of art that are both elegant and functional.

These incredibly sleek sculptures are the result of Jae-Hyo Lee’s meticulous work: having assembled various chunks of wood, he burns and then carefully polishes them to create visual contrast and a smooth surface.

“I want to express the wood’s natural characteristics without adding my intentions,” says Lee. “I like to make the most out of the material’s inherent feeling. Little things add up to transmit a stronger power, greater energy. That is why I have quite a lot of large pieces."

Below is a selection of Lee's recent work.



I often speak of Monticello. From the moment I saw it, in an interiors magazine years ago, I was drawn to its grand Paladian presence. Its style, its symmetry and its classic sophistication have been a consent source of inspiration for me, throughout my carreer.

Monticello was the primary plantation of Thomas Jefferson, the third President of the United States. Jefferson began his work on Monticello when he was twenty-six years old, drawing from knowledge gleaned from various books as there were no schools of architecture in colonial Virginia.  Originally styled as a plantation, the first Monticello was slightly more modest — built in 1768, it was two stories high with a total of eight rooms. As the years went by, and especially after his tenure in Europe, he continued to add rooms, and make inspired changes. By the end of its construction Monticello was a grand villa, comprising 11,000 square feet.

Influenced by Andrea Palladio, the Renaissance architect, Jefferson put his own spin on neoclassical architecture, incorporating octagonal forms in his designs which were often constructed in red brick. He created a style of architecture befitting a new nation – original, but drawing elements from European Classical tradition. Monticello contains a few ingenious innovations by Jefferson including a “turning machine” for holding clothing, a spherical sundial, and a revolving bookstand for his ever-expanding collection.

It’s probably one of the most fascinating homes in the United States, if not the world. Not for it’s lavish decorations or its grandiosity, but more so for its perfectly symmetrical design and the intricate details that can be found in every room inside the house. 

Just like George Washington’s Mount Vernon, Thomas Jefferson’s Monticello sits on a hill with amazing views of the surrounding farmland, valley, and mountainous region. On a clear day, you can see for miles and gaze at the hilltops of the nearby Blue Ridge Mountains and Shenandoah National Park. 

There are only a handful of locations in the United States that are selected by UNESCO as World Heritage Sites and Monticello is one of them. It’s the only presidential home with such designation, and it certainly deserves it.



Decorating a Christmas tree takes a little more thought than simply rehashing the same old ornaments  year after year.

While I'm all for tradition and using favourite heirloom decorations, I like to keep things fresh by editing my collection and adding new items each year.

I like to blend my tree with my house interior. A Christmas tree should be fun and make a statement, but a tasteful tree that harmonises with the interior of your home is often best.

Here are some tips that I follow when decorating Christmas trees. 


Before you start to add decorations, you must first light up your tree.

Create a beautiful glow with the following tips on stringing lights on a Christmas tree.

•   For every foot, average 100 lights. So if you have a six-foot tree, you’ll probably need 600 lights. 

•   Before you start, plug in the lights to checks if all the bulbs are working. Leave them on while you work to see them easily as  you position them on the tree.

•   Starting at the bottom, string your lights around and through the tree in a random fashion. Try to avoid any obvious pattern or spiral; you want the lights to look natural. Place some lights deeper into the branches and place some closer to the front to create depth. 

•   A “dead zone” of lights occurs when you connect one string of lights to another. Hide any unsightly connections by pushing them deep into the branches. 

•   If your lights aren’t hanging exactly where you want them, wrap some fine floral wire around the cord and branch to hold it in place. Bend the loose ends of the wire towards the back of the tree out of sight and out of reach.

•   If you have a real tree with a branch that’s drooping or unattractive, simply remove it by clipping it from behind with a pair of florist shears. Use florist wire, again, to manoeuvre other branches into even positions.


Before you even start thinking about placing ornaments on the tree, lay out what you have and take stock. There may be some that you can replace to update the theme of this year's tree. Once you've condensed your collection and started decorating, make sure you keep stepping back to look at your work. 

I always work with ornaments in colours that blend with my interior. Obviously for me this means, nuetral monochromatic chocolate and cream tones. 

If I were to add a colour it would be a colour that already exists in my home, possibly a deep antique red or gold. 


When it comes to decorating the tree I often use this formula:

“For every foot of tree there should be 10 ornaments. Within each foot there should be five basic ornaments, three accent ornaments and two theme ornaments. The basic ornaments complement the overall theme in colour but are basic in shape. The accent ornaments are basic shapes that go with the theme. And finally, the theme ornaments can be more decorative.”

Your tree decorations, as with all the other elements, i.e. table setting gifts and wreathes should work together.  Repeat the same colours, texture and styles that you have used in other areas of your home. If you have no stand out elements to work with, create a theme that works with what you have and continue it through all your decorative treatments.

I also like using existing ornamental pieces from my interior, such as cut crystal decanters or rusty urns, combined with my Christmas decorations to help blend everything in with my interior for a tasteful result.

Here are some trees and decorations that I find inspirational in recent years...


For many, a Christmas tree is the most important Christmas decoration.

Whatever your tastes there is a large variety of Christmas trees available, from traditional to contemporary,  highly decorated to quite plain. The biggest decision for many people, however,  is… real or fake?

In my family, I have traditionally leant towards a real tree. I grew up with one and it was a family tradition to choose and purchase the tree in early December each year. Whenever I smell a real tree it brings back the memories of my childhood Christmas. In recent years as technology has developed to the point of producing incredibly realistic faux trees, I have occasionaly been tempted by the artificial variety, however my obsession for the authentic always draws me back.

Of course, real Christmas trees require more planning and care than an artificial tree - they need to be purchased wisely, transported and cared for before being discarded thoughtfully after December 25.

Make sure you follow these tips before splurging on a live Christmas tree this year:

Measure the space

Before you go shopping or hunting for that "perfect tree," you'll need to decide where it will fit in your home. Once a spot is chosen be sure to measure the ceiling height and the width of that space. You will also need to measure your front door width and any other narrow spaces the tree needs to get through before you take it to the required space. 

Choosing the right real Christmas tree

You want a tree that offers some space between branches for decorations as well as sturdy branches tohold heavier ornaments. The tree looks better when ornaments hang straight. To test a tree, take an unbreakable ornament with you and hang it on several branches to see if there is room for it to hang straight.

How can you tell if a tree is fresh? The needles should look shiny, green, and fresh -- not dry or brown. They should not fall off when you pull on a branch. Once you are home, saw off at least 2cm from the bottom of the trunk so the tree will begin to soak up water immediately. Your tree should stand perfectly vertical. 

Securing the tree

There are all types of tree stands you can buy, but most people try to cobble together a heavy bucket or pot that will hold up the tree. The taller the tree, the bigger diameter of the trunk and the sturdier the stand needs to be. Australia doesn't have a wide variety of live tree stands on the market, but the best will have some water which the tree can absorb over the Christmas summer to keep it looking fresh. Place a plastic or other waterproof covering on the floor where your tree will stand so you don't ruin the carpet or get watermarks. If you have a very large tree or are worried about it tipping over, you could attach the tree stand to a large, flat piece of plywood to broaden the base of the tree, give it stability and further protect the floor.

How to care for your real Christmas tree

Live trees need to be replenished with water to keep them fresh and stop the leaves dropping off, in much the same way you need to keep cut flowers in vases of water. The trees tend to absorb more water in the first week or so after being cut. Place the real Christmas tree in a stand that can hold at least 4 litres of water. If the water drops below the trunk, the trunk may seal itself and not be able to absorb water. Place the tree away from sunlit windows, television sets and other heat sources as they will dry out your tree prematurely. If properly cared for your real Christmas tree should last at least 4-6 weeks before drying out and turning brown.

An afternoon with Stuart Membery

Walking down a quiet back lane, off one of Bali's busiest streets, at the invitation of Australian design icon, Stuart Membery, I had a sense that I was walking into something special.

A discrete louvred doorway, in a high ivy covered wall, opened into a magical oasis, and I instantly felt at home.  Two colonial dwellings, sitting amongst manicured gardens, are the heroes of the estate, and a showcase to Mr. Memberys classic design style. 

I have long admired Stuart Membery, his career and his work; undeniably classed amongst other great Australian style icons including the sophisticated Trent Nathan and the timelessly elegant Maggie Tabberer.

The man himself, tall, distinguished, and instantly likeable, strolled out from his office to greet me. Geographically miles apart, we had exchanged pleasantries via email but today I had come to meet him in person, to talk about life, style and to see his stunning furniture range first hand.

Sitting with him in his beautiful surroundings, everything perfectly styled, it was impossible not to feel inspired. We discussed design; local and international. Mr Memberys mind, as sharp as a tack, referencing classic design icons as he spoke. From Dorothy Draper to Ralph Lauren, and the styles of chinoiserie, art deco and mid century modern. 

We admired his current projects, including his international resort designs and perused his elegant furniture and home collections, which are distinctive in their style yet utterly timeless and sophisticated. A beautiful blend of east meets west, both traditional and contemporary. I certainly had my favourites and I can see many pieces falling seamlessly into my own work. 

He graciously allowed me free reign of his home to snap away. Below are some of the results.


Top Australian Interior Designers

Interviews, Tips and Advice from Australia's top Interior Designers. A recent feature for Australian Open Colleges Featuring:

Greg Natale, Bespoke Design - Brendan Wong, High End Residential - Darren Palmer, The Block - Justin Bishop, Traditional & Enduring - Sian Macphearson, Est Magazine Editor - Jen Bishop, Interior Design Publishing - Andrew Loader, Residential and Boutique

Justin Bishop is passionate about timeless, traditional style design. Throughout his design career he has worked in a variety of creative fields, developing a passion for the creative process; and always demonstrating an absolute sense of style.

Justin founded his interior design company over ten years ago and has designed a number of versatile projects throughout the country, from the most elegant urban residences to casual weekend retreats and innovative commercial interiors.

As an interior designer he is known for his classically sophisticated interiors, which blend old and new harmoniously. His work has appeared in many leading magazines and interior publications including Belle, Country Style, the Melbourne Age and the Grand Designs magazine. Australian House & Garden recently listed him as one of the 'best of the best' interior specialists in the country.

1 What's the secret to running a successful interior design company?

I think the core of running a successful business is a belief in your product and a passion for what you do. I live and breathe classic style and design, it's ingrained in me. I genuinely enjoy assisting my clients and I'm always excited about working on new properties with them. Of course, a good business head is also a must but primarily in design, it's so important to love what you do.

2 What is the Australian industry like? How is it unique?

I suppose we have our own niche. Of course, we are influenced by overseas trends and styles, both current and past, but there is definitely a fresh, Australian pared-back and slightly rustic style that is truly our own. We have more and more access to international products but we are also fortunate to have a growing supply of brilliant designers and manufacturers right here on our doorstep.

3 What's required to work on heritage design projects?

Working on heritage projects requires a sympathetic and controlled approach to design. It's not an avenue to be too clever and creative, rather it's about showing restraint, being true to a particular design style and executing a coherent, well thought out scheme. I love working on heritage projects as my personal style leans towards a more traditional aesthetic.

4 What are the biggest challenges you face in your daily work and how do you overcome them?

Organisation! As a creative type, this is not my strongest point. It's SO important to be organised when making decisions and passing on information. The slightest mistake can have an enormous impact on the outcome of a project. I make lists and I cross check everything; I force myself to be diligent with my diary and I make sure that I have covered everything on a daily basis.

5 What advice would you offer students looking to build their portfolio?

Get out there and start designing! Offer your services to friends and family. As well as a good education, experience is so important. Record what you do. Photograph your work, whether it's at design stage or completion. You can edit your portfolio at any stage but initially, it's important to create a large body of work. You will gain experience and start to develop your own personal design style.


Embracing the Dark side

While I am known for my penchant for 'white' interiors, I have recently been gravitating toward a darker colour palette in my work.

There is something decadently luxurious about a dark interior scheme; deep natural tones in charcoal, black, chocolate, and tobacco, teamed with deep oak joinery and other timber interior details.

It's a slightly more masculine look, that suggests the feeling of an old school gentlemans office or library.  There are leather bound books, cut glass whiskey decanters and a collection of timber walking sticks.

As the following images suggest, using darker elements in a traditional scheme will not look dated or overly fussy; what we see, in fact, is a slightky contemporary edge.

By using a clever mix of beautiful fabrics, natural timbers, sophisticated colour schemes, and perfect accessories the look can be stunning, elegant, and utterly timeless.

The New Luxury

I am working on a variety of residential projects at the moment; the majority of which are in Melbourne's inner suburbs and are in period style. I love the design direction that I'm taking on these properties.

It’s a very Melbourne look, that I call 'The New Luxury'. I'm using a blend of natural finishes, with aged patinas and weathered surfaces, and blending these with high end luxury fabrics, including velvet's, satin's and silks.

It’s a design juxtaposition that works beautifully, giving glamour to the rustic and character to the luxury. I look forward to bringing you images of these projects as they near completion in 2016.