Jade Maloney is the creative force behind the restoration and conservation of some of the most renowned historical interiors in the UK. From British landmarks such as Buckingham Palace and Kensington Palace to work by artists such as Warhol and Picasso, Jade has spent over a decade using a specialist combination of preservation processes to bring these decorative surfaces new life.

Outside the more traditional projects, Jade’s unique skill set has been put to use for some fascinating and unusual briefs over the years. These include gilding swimming pool slides, golden panic rooms, chemically patinated grandfather clocks, royal bedrooms and a 24ct gold toilet. A common misconception is that gilding is old-fashioned, Jade points out.

“In reality, it is an ever-evolving craft with incredible versatility and contemporary uses."

“Gilding bridges the worlds of historical preservation and modern luxury interior design, and no two projects are ever alike. Its application continues to evolve beyond traditional uses. I love contributing to that innovation and navigating the challenges of each new brief.”

However, with NDAs becoming more prevalent in the restoration industry, Jade adds she is limited to how much she can share with us on some of unconventional projects.

Nevertheless, one such memorable project for Jade was trying to gild the gates of the Wallace Collection as the snow was falling. Not only was it a challenge to delicately apply gold leaf with numb fingers, it was also not ideal conditions for the gilding sizing to ‘cure’ (a process involving the gold leaf to become dry and become tacky, allowing it to adhere). Fortunately “with patience and umbrellas” Jade managed to get the project done.

A project that Jade found particularly rewarding was a residential restoration on Lake Lucerne in Switzerland - a historic villa undergoing a complete transformation required a grand total of nine gilded ceilings. The work was phased over a year and Jade was on site in both the sweltering summer and freezing winter.

“Spending that much time in one location, contributing to a full-circle restoration alongside such a large and varied team of international craftspeople was a privilege. I witnessed the building brought back to life and felt honoured to provide the finishing touches.”

Working on restoration projects for these historic decorative surfaces has given Jade an appreciation for the “anonymous artists” who worked on the buildings hundreds of years before her. It’s a beautiful perspective on the decorative crafts that, although surrounding us in our homes and public buildings, often go unnoticed or unappreciated.

“Every painted wall, stippled cornice, marbled column or gilded moulding tells a story. Up close, I see their pencil marks, fingerprints, stray brush hairs, and painted-over mistakes, created by ghost hands. These details reveal the makers who never got to leave a signature and whose names will never be known. 

“Now I am adding my work alongside theirs, adding to the beauty of these spaces for future generations to appreciate, leaving behind art with no name. I’ve learnt a deep respect for the seemingly mundane and will spend a long time admiring a wood grained door or a perfectly dragged skirting.”

Restoring a historical building is not only a collaboration with a previous craftsperson, but involves the collective endeavour of clients, architects, designers, and often conservation officers. For example, with architectural briefs, the process is usually more structured and Jade is typically provided with visuals and specifications from a designer, architect, or joinery team. From there, Jade researches the space, its location, use, and environmental conditions and makes tailored material recommendations.

“For instance, silver leaf is often specified for its aesthetic, but it's highly prone to tarnish, particularly in kitchens, bathrooms, spas, or marine settings. I’ll propose alternatives that offer the same visual effect but are better suited to the space.”

Jade will then consider access logistics, and preparation requirements to ensure feasibility. Then she produces a bespoke sample for the client to review alongside other finishes like fabrics or wall colours, revising the samples based on feedback. 

“Throughout the execution, I encourage clients and designers to visit and engage with the process.”

Throughout this process, Jade has to strike a balance between respecting the building’s heritage and viewing the project through a creative lens.

“With a background in conservation, I approach every building with deep respect for its architectural and decorative history. At the same time, I don’t believe in freezing every single interior in time and denying the natural and fascinating evolution of its decorative history to continue.

“For buildings to be preserved, they must also remain functional and adapt to contemporary uses. Creativity, progression and preservation can coexist, but consideration and innovation are key to this.”

One such type of project that tends to be more creatively open for Jade is ‘Verre églomisé’ - a striking gilding technique involving the application of the gold leaf to the rear side of a glass surface, rather than the front.

“I may receive inspiration images and a general brief from which I develop a design informed by research about the location and its context. After client feedback and revisions, the design is finalised, and we select a small section which I will then create a sample from. I create all of my glass works in my studio and will have them crated and shipped to location for installation.”

“For more open briefs and commissions, inspiration is drawn from a wide and varied range of sources, always tailored to the unique context of the project. Past designs have been informed by everything from intricate embroidery of antique kimonos at the V&A, to the bold graphics of Art Deco travel posters from the French Riviera, to the sculptural forms of Diego Giacometti’s plaster shell chandeliers.”

A polymath of restorative decorative arts, one technique that Jade loves and spends most time doing is gilding, a process she came across when she first started out in the industry as cleaning, stabilising, and preserving historic architectural finishes and artworks. On large-scale palace and cathedral projects she often worked alongside a separate team of gilders, all of whom were men. 

“Always men. I wondered whether there were significantly fewer female gilders? Or whether female gilders were less likely to be hired for work in large construction settings requiring scaffold use due to misconceptions? As the years passed, and the ever-changing but all-male teams of gilders came and went, I decided I wanted to learn to gild.”

Jade stepped away from conservation for three years to focus exclusively on gilding, and fell in love with it it’s “extraordinary blend of chemistry, craftsmanship, and precision”. 

“What appears to be a simple process is, in fact, deeply technical - understanding the alloys in each type of leaf, the chemical and environmental factors that can affect tarnishing, mastering the timing and temperature of various sizes, evaluating leaf quality from different suppliers, and calculating the thousands of sheets needed for elaborate mouldings or sculpture.”

Another misconception of gilding that it is always bright, flashy and yellow gold. 

“But it can be used in the most delicate shades such as champagne and moon gold and to subtly highlight architectural features or to manipulate light, space and form."

Gilding has only recently been removed from the Red List of Endangered Crafts so Jade hopes to see this progression continue and the investment in training and education of this rare craft continue to grow.

“In a world becoming increasingly dominated by digital creation and mass manufacturing, there is certainly a push back with a growing appreciation of natural materials, traditional techniques and a desire for handmade and authentic human craftsmanship. I’m starting to see some new generation architects and designers incorporate gilding in innovative ways, and I’m excited to keep pushing the boundaries of my craft to bring their designs to life.”

Click here to see more of Jades projects here!

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