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Yuki Sugiura

As a child, until I discovered fashion at thirteen, I devoted every penny of pocket money to my doll’s house. How strange then, all these years later to have this pattern reversed – and quite by accident. In December 2021, my son Kit and I visited the Kensington Dollshouse Festival with the vague notion of finding a present for his baby sister Bunny. We were instantly gripped with miniature fever and bought the first house we saw, which happened to be a twelve room MDF McMansion. I wasn’t confident it would even fit in the playroom. It definitely wasn’t a Starter Home. But I’m an interiors nerd and he wants to be an architect, so quickly the house become a shared obsession. The baby seemed disinterested.

Having taken a hammer to the façade to remove the laser-cut balconies, I had to find a way to rehabilitate it.

Yuki Sugiura

For a long time, we were intimidated by the size of the house and didn’t want to make a start. Instead, I busied myself with mood boards, covering a wall of my makeshift workshop with room schemes and writing extensive lists of tasks and timelines. I studied the history of doll’s houses, buying every book I could find from Oxfam and Etsy. And while I took inspiration from some of the finest houses in the land, our MDF shell remained untouched in the corner.

I am often asked, “Will she actually be allowed to play with it?” and technically, it’s full of “Collector’s Items” with aged 14+ warning labels but yes, of course she will play with it before then (while I hover, nervously supervising). I am grateful to House & Garden for photographing it in its pre-played-with state, it makes me feel far less precious now there is a record. And in the short term, I am converting my own childhood house into something more accessible for a toddler – where everything is handpainted and decoupaged and entirely in blue, her favourite colour.

Yuki Sugiura

By the time we took up our paintbrushes, I’d raised my expectations to ludicrous levels and my characteristic delusions of grandeur were now running riot, at 1:12 scale. We weren’t just making a doll’s house anymore; we were making the ultimate doll‘s house. I had literally lost all sense of perspective.

It was quite sobering then to spend a solid fortnight of evenings getting primer on our PJs as we slapped on the basecoat – creatively unfulfilling, but we had at least begun.

The wallpaper is a replica of the pattern in the drawing room at Sutton Park by Susan Bembridge. I sprayed the console tables and chairs (from Alison Davies) gold and we put pink marble (washi tape) tops on the tables. My mother upholstered the seats in yellow silk from a fabric sample book.

Yuki Sugiura

The real marble chequerboard floor felt right but was a nightmare to install. Lots of the ceilings in the house are papered with embossed card to give the effect of plasterwork. The doors are painted in Edward Bulmer’s Ethereal Blue.

Yuki Sugiura

Historically, doll’s houses or baby houses were used as teaching aids for young women, for lessons on how to run a household. Perhaps it’s a deliberate perversion of this, that our house only serves pudding and martinis and Dom Pérignon and there’s not a whiff of domestic drudge about the place. My daughter won’t learn much from this house because it is a pure fantasy.

The floor is laid with real terracotta, and on the walls is a set of willow pattern china to match what we have at home. There’s a fry up on the Aga and 15 copper jelly moulds in the dressers.

Yuki Sugiura

The walls are painted in Little Greene’s Travertine on the bottom and Farrow & Ball’s Borrowed Light on top. I beefed up the splatter on the enamel spatterware with a white Posca pen.

Yuki Sugiura

The furniture is painted in Little Greene’s Juniper Ash. The apples are Bunny’s favourite variety.

Yuki Sugiura

Yuki Sugiura

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