University Days and Early Fascination
I wasn't one of those kids who always knew what they wanted to
do. At the University of Edinburgh studying Fine Arts, I spent
most of my time in the conservation labs, absolutely
captivated by how Victorian craftspeople approached their
work. There was something about understanding why a piece was
made the way it was—the joinery, the finishes, the
materials—that felt like solving a puzzle.
Those university years taught me that restoration isn't about
making old things look new. It's about respecting what came
before and bringing out what was always there. That philosophy
stuck with me.
The Workshop Years
After graduating in 2008, I landed a position with master
restorers in London. Five years in their workshops changed
everything. I learned traditional techniques from people who'd
been doing this for decades—how to strip finishes properly,
source period-correct materials, repair joints without
destroying original wood. But honestly, it was also quite
rigid. Everything had to be historically accurate,
museum-standard restoration.
Don't get me wrong—that training was invaluable. But I kept
thinking about all the beautiful furniture heading to
landfills because people couldn't afford or access proper
restoration services. There had to be a better way.
The Shift to Sustainable Upcycling
Around 2012, I started experimenting with chalk paint on
pieces from charity shops. The results were honestly
shocking—not in a bad way. You could take a battered old
dresser and transform it completely in a weekend. And here's
what mattered most: it got people excited about restoration.
They weren't intimidated anymore.
When my before-and-after photos went viral on social media in
2013, it opened doors I hadn't expected. My first book,
'Charity Shop Treasures: Finding and Restoring Hidden Gems,'
came out in 2015. Suddenly I wasn't just restoring furniture—I
was teaching thousands of people that they could do it too.
Today's Focus
Now at brevonix Ltd, I split my time between hands-on
restoration projects, running workshops across Manchester,
Birmingham, and Bristol, and creating detailed educational
content. I've trained over 200 participants in proper
techniques. But the goal remains the same: show people that
beautiful, functional furniture doesn't belong in a skip. With
the right guidance and realistic expectations, anyone can
learn these skills.