A recent homebuyer in Devon has documented her experience of furnishing a grade II listed maisonette while deliberately moving away from algorithm-driven interior design tools. After a protracted seven-month purchase process fraught with concerns, including uncertainty over the condition of the timber-framed roof, she finally took possession of the property on an autumn day. Initially engaging heavily with digital platforms like Pinterest, the buyer found herself overwhelmed by automated style categorizations and an array of paint recommendations, which ultimately felt disconnected from the character of her new home.

Upon moving in, the contrast between the property's historic and natural features and the bright, digitally inspired paint choices became apparent. The buyer realized that her prior extensive rental history, spanning six countries and fourteen years, had left her without a settled aesthetic or furniture base, complicating the challenge of designing the space. In response, she chose to step back from AI-generated suggestions, dedicating time to immerse herself in local history and architecture through library research and physical mood boards created from vintage magazines. This analogue approach helped her better appreciate the contextual identity of the Devon cottage.

Recognizing the limits of technology-driven design, the buyer enlisted professional guidance, consulting with a colour expert from Little Greene, a British eco-friendly paint manufacturer. Within an hour, the consultant recommended a tailored colour palette for various rooms: chocolate-brown for kitchen cabinetry, apple green for hall woodwork, and a peach tone for the attic bedroom, enhancing the cottage’s architectural elements. Complementing this, she undertook an online interior design course from Swedish designer Beata Heuman, gaining practical knowledge on budgeting and fabric selection, including insights into durability and lighting.

Further inspiration came from visits to the South West Coast Path and Hotel Endsleigh—formerly a hunting lodge turned hotel managed by interior designer Olga Polizzi. There, she noted the use of richly textured fabrics and distinctive wallpaper sourced from reputable suppliers such as Designers Guild and Christopher Farr, sparking ideas she adapted for her own home. Over time, she curated an eclectic interior blending handmade folk art, ceramics from international travels, and bespoke furniture crafted by a local workshop.

Though still evolving, the finished interior diverges from algorithmic templates to embrace a playful, inviting atmosphere with a so-called “pudding-esque” palette reminiscent of ice cream shades. Each piece reflects personal stories and connections, offering a departure from purely digital aesthetics toward a more tactile and contextually rooted living space. The homeowner emphasizes that while her design may lack the neat cohesion of algorithmic boards, it better captures the essence of a true home.