Stacey Solomon's recently unveiled bathroom, featuring a sunken marble tub, Roman columns, and hand-painted murals, has drawn comparisons to the opulent decor of the film 'Scarface'. The television personality shared the striking Victorian property's bathroom with her over six million Instagram followers, noting its unusual style.
Interiors expert Jordana Ashkenazi commented on Solomon's bathroom, describing it as a "statement" but "incredibly dated." Ashkenazi suggested the combination of Greek goddess murals, columns, gold borders, and marble created a look reminiscent of a "themed hotel suite from the 1990s." She noted that while large bathrooms offer potential, they can risk appearing "dated" or "disconnected" from contemporary UK design.
"At the moment, it looks like it needs a full refurb," Ashkenazi stated. "The murals are impressive as pieces of craftsmanship, but aesthetically it's all just too much." She proposed stripping back the space, retaining grandeur, and introducing warmer natural stone, aged brass, softer lighting, and more restrained detailing to create a luxurious, less overwhelming atmosphere.
In contrast, Jamie Laing and Sophie Habboo's recently renovated bathroom in their £12 million home received praise from Ashkenazi. She described their design as "exactly how you do a traditional bathroom without it feeling old-fashioned," calling it "classic, beautifully proportioned and incredibly elegant, but it still feels fresh and relevant." The checkerboard floor, brassware, and freestanding bath were highlighted as elements of restraint and considered detail. "It looks expensive because the materials and proportions are doing the work, rather than lots of unnecessary decoration," Ashkenazi explained.
Zara McDermott's former bathroom, shared with ex-partner Sam Thompson, featured a light-up mirror and sink. Ashkenazi found the scheme lacking cohesion, noting that expensive elements competed rather than complemented each other. "The vanity is very boxy, then you've got the sculptural basins sitting on top, the illuminated stone underneath, the LED mirror above and polished chrome fittings. There are lots of different statements competing with one another, rather than one clear design idea," she said.
Millie Mackintosh's extensive renovation included a large bathroom with high ceilings and a copper bathtub. Ashkenazi called the space "beautiful, luxurious and traditional," appreciating the combination of classic panelling, warm tones, and the statement gold bath. However, she felt the "large rectangular mirror" was a "plain" missed opportunity and the vanity "a little high street in comparison to the rest of the space."
Molly-Mae Hague's bathroom, with marble walls and a rectangular bath, was critiqued for its "faux marble porcelain tiles" with veining that felt "heavy and inconsistent," detracting from a high-end look. Ashkenazi noted the predominantly grey palette made the space feel "flat and lacking in warmth" and that the "structured and quite square" design lacked softness.
Mark Wright and Michelle Keegan's bathroom, aiming for a "hotel luxe, spa-like feel," was executed well, according to Ashkenazi. The combination of natural wood drawers with a stone top added softness. However, the mirrors and lighting were seen as slightly discordant with the overall aesthetic, making the space feel "a bit more showy, rather than maintaining that calm, refined feel."
Lydia Bright's bathroom featured a copper bath tub and dark walls. Ashkenazi liked the bath's finish, but felt the walls "fall slightly flat" and that a contrasting white cornice created a "stark" effect. The fireplace was described as "basic" and underwhelming.
Binky Felstead's bathroom, with zellige tiles, pink skirting tiles, and antique brass, was praised by Ashkenazi as "gorgeous," "incredibly charming," and well thought out, with a balance between traditional design and a liveable aesthetic. The wall panelling, flooring, and vanity were highlighted as particularly successful elements that contributed to a timeless, luxurious feel.
Zoella's bathroom, featuring a copper-bottom roll-top bath and graphic tiles, was seen as having potential but not quite landing. Ashkenazi found the combination of industrial and vintage elements disjointed, with lighting and decorative details feeling cluttered rather than high-end.
Myleene Klass's bathroom included a freestanding bathtub and a chandelier. While the bath was a standout, Ashkenazi felt the space lacked a clear design direction, with the chandelier being a "miss" as it felt "too small and slightly lost." The mirror and styling also contributed to a sense of disconnect.