The London-based housewares designer and creative consultant Matilda Goad, 29, vividly remembers Christmas when she was 8 years old, in the family home in Sussex that has always been her lodestar. As her parents entertained downstairs, she rearranged the furniture in her bedroom, dragging the voile-draped cane bed and skirted kidney-shaped vanity across the room. One thing she couldn’t change, however, was the tiny-pink-rosebud wallpaper, which, reflecting her mother’s characteristic brio, was hung not merely on the walls but also on the ceiling.

“I suspect I might not have been very pleased,” says Matilda’s mother, Emma Goad, 67, a former clothing designer who started out in the 1970s as an assistant to Ossie Clark. Still, it is hard to imagine that she wasn’t partly charmed by her daughter’s verve for celebrating tradition while giving it a tweak; after all, both women have singular aesthetics inextricably tied to Deerkeepers, the warm and eccentric early 18th-century brick-and-flint cottage where Emma has lived for 43 years and where Matilda continues to return for inspiration.

Matilda, a member of the new generation of young product designers who also decorate spaces (she recently styled the 18th-century busts in the windows of Jamb, the Pimlico Road antiques shop, with Saint Lucia-style crowns and designed a pop-up British pub for the much-photographed Wiltshire wedding of the fashion designer Hannah Weiland and the brewing scion Arthur Guinness), introduced an eponymous line of unapologetically feminine housewares in 2016: scalloped raffia lampshades, gold-striped ceramic vases and ribbed beeswax candles in shades like lilac and pistachio.

While her oeuvre is playful and modern, the roots of her taste are evident. In the Notting Hill apartment she and her husband lived in until recently, there were red-lacquer cabinets, a cowhide rug and a large sofa upholstered in crimson corduroy — but there were also lace panels over the bedroom windows, a strawberry-print wallpaper in the bathroom and a set of vintage botanical prints. “Sometimes, my mom will say my colors are wacky, but we have a lot of fun together, and it’s great to have her as a sounding board,” Matilda says. The women share a preference for spaces that are comfortable and full of personality, eschewing anything too “smart.”

The six-bedroom residence that is the font of their aesthetics was indeed once a deer keeper’s cottage, part of the capacious listed Georgian estate called Uppark, built in 1690 and owned for generations by Emma’s family. The novelist H. G. Wells, whose mother and father were employed at the house as a maid and a gardener, stayed for a time in the 1880s. In 1954, Emma’s father, Richard Meade-Fetherstonhaugh, donated the main house to the National Trust. The rest of the estate stayed in the family, however, and Emma inherited the cottage in 1976, when she got engaged to Matilda’s father, Geoffrey Wanklyn Goad, now a retired property broker.

Over the years, she’s redone most of the rooms a handful of times, playing with embellishment and pattern (“At one point, it all became very chintzy and braided,” she says), but her penchant for French furniture, antique quilts and small-scale, pale-colored florals has never wavered. She recently redid the intimate, low-ceilinged dining room, which she says now looks “rather like a hatbox,” with a large oil painting of an English foxhound on leafy, hand-blocked wallpaper by Pierre Frey. In the master bedroom, however, the walls, curtain and coverlet have for 30 years borne the same rose-and-ribbon print by Warner, a purveyor to the British royal family. “If you repeat a fabric, it’s telling you something.