"It's not a face tattoo; it's just a scatter cushion"

by yours truly

HERITAGE WARRIER

LOVE LOCAL

PRACTICALITY FIRST

COLOUR & TEXTURE LOVER

About me

I grew up and was schooled in the Southern Suburbs of Cape Town. Artistically minded from the start, I spent years of extra murals at the then named Frank Joubert Art School. After completing Matric, I studied Graphic Design at Cape Tech, and then on to Computer Studies at Hirt & Carter. A couple of years in advertising and I left to London. Fast forward a few years, and I came back, tired of the corporate life and desperate to follow the creative pull free from restriction placed on me by endless corporate identity documents and red tape.

Moon & Back has its roots in stationery. A love of pattern created and applied to paper. But whilst it seetms so, creativity in this space only happens every other season when new designs come into play. With changes in technology and digital printing on substrates other than paper, it has led me down the path to homewares and surface design - an area I am so passionate about.

Graphic design isn't the end of my story. Using all those disciplines of form and function and texture and colour has led me to interiors and spacial planning. Working on my current home as well as numerous past homes has instilled in me a love for this discipline of design, and I truly feel at 50, I have found the thing I want to do for the rest of my working career.

I am a wife and mom to 2 busy tween boys. We have 2 dogs and 2 cats. I understand the pressure (and expenses) of family life, and I design accordingly.

My friends always say "if you want it straight, ask Bronwyn". I used to see this as a curse, but now I see it as a strength. Straight shooting with a dark sense of humour, I don't take life too seriously and inject colour and fun into all my spaces.

What is my personal style and why is this so important?

I call myself a 'Considered Maximalist' which means that I love working with spaces that offer up little delights and have depth of character. There's a vast different between considered maximalism and clutter. Clutter is very different - it promotes anxiety and has little to no purpose. Curated spaces promote well-being and calm.

As a traditionally trained Graphic Designer for the first 20 years of my career, texture and colour were always been key to my work. I am drawn to pattern and fun and natural materials.

I don't believe that life should be taken too seriously. Trends are fleeting but things we love will stand the test of time. I feel that interiors that are layered over time are the most successful. Where a child's artwork features alongside an etching purchased on a whim in a little European town. Interiors must reflect the people that live within. When that happens, the sense of 'home' becomes stronger and it resonates further to people who visit.

If you are a client that is set on pure white interiors with monochromatic slabs, inset LEDs and boucle couches, I am not the right choice for you as a service provider. I love visiting such spaces, but I could never live within them and therefore can't be passionate about designing them.

Where it all began...

Grab a coffee, its a long one...

Being the first daughter of one of the most handy and talented hand-on dads one could wish for, meant I got a grasp for all things home with both feet grounded in practicality. I was equally at home in the workshop with power tools as I was in the kitchen or garden.

I don't think any house we lived in was ever really finished - from home made kitchens were always in progress, wood working projects always on the go. My mom is a great cook, and an absolute whizz in the garden. This instilled in me a love for tasty things, many home grown, and a realisation that a colourful and lush garden can inspire and change the way architecture is viewed. Growing up we had a very simple mid century home built by my paternal grandfather, and she hated the structure. She covered it in greenery and so a relatively modest home took on another dimension - a lush oasis that enveloped the house. Looking back I wish I could go back there and work on that house, making the most of the glorious mid-century features - the solid copper fireplace mantel that stretched to the ceiling, slatted timber eaves and crazy paving.

I spent holidays at my maternal grandparent's farm in the Karoo; with huge teak windows and heavy wooden beams across the ceilings. A farm kitchen with the biggest Aga stove in which we baked gingerbread men. An enormous stoep from where we could survey the goings on and sit in the warm winter sunshine. The BBC World Service on the wireless at noon (don't dare make a peep when it was on). A bowl of jewels - precious rocks, agates and crystals that we played with that Ouma had collected on her worldly travels. Formal lunches in the dining room with family silver and huge chandeliers that dripped sparkles from the ceiling. Food that was hearty whether it was guinea fowl that my Oupa had shot and hung for weeks on the lines under the eaves until succulent, or home grown lamb. The donkey being stoked for warm water outside our window against a backdrop of booming male ostriches.

It was this homestead that sparked something in me that will always love and respect heritage properties. I understand them and have a deep respect for the way they were built - high ceilings, well-proportioned spaces, thick walls, beautiful craftsmanship - all contributing to a simpler and more considered life.

The oldest building I have owned along with hubbie, dated back to 1740. A mews home that started life as a stable in London's famous Greenwich. Later, a pre-war property which was bombed during WW2 - the walls were never really stable after that. Where I learned to tile and put up ceilings and spent nights stripping wallpaper. A simple Karoo homestead built for the mistress of a farmer in 1840. A Victorian in Chelsea in Wynberg. And now, our youngest property where we are raising our family is a 1937 heritage home in the Southern Suburbs of Cape Town.