Michael Inchbald - Telegraph Michael Inchbald spent much of his childhood at Stanley House, the home of his uncle (also Courtenay Ilbert), who had formed the world's finest horological collection. On discovering a dusty clock bearing the initial "N," the young Michael exclaimed that it must have belonged to Napoleon. "It's still a good clock," replied his uncle. A precocious talent for drawing led to Michael's being sent to Sherborne, where there was a housemaster said to be good with "difficult" boys. He devoted much of his time at school to making a model railway, candle-smoking the trucks and painting grimy industrial scenery for added realism. Afterwards he visited France and Italy, a "Grand Tour" that prompted him to enrol at the Architectural Association's school in Bedford Square. The necessary study of engineering bored him, however, and he thought of going to America, but on discovering that he had only £5 in his account he decided to remain in London. He soon began to forge a reputation as a designer, and his designs for oil heaters and a safety ashtray won the national Shapes of Things to Come competition in 1946. He also took first prize in the 1955 National Chair Design competition with "Mambo," a long wicker seat slung over a low iron frame. It was shown at the Milan Triennale in 1957. Inchbald won all four national design competitions that he entered. Once, Queen Mary (who rarely visited shops) came to see an exhibition of his designs at the Peter Jones department store in Sloane Square. As Inchbald was showing her round, she paused to admire some of the store's own trays, keenly priced at 11s 6d. When she picked one up, its side came away in her hand. Stiffly replacing it, she observed: "Not quite such good value after all." In the 1950s Inchbald began to design for companies, creating headquarters for Plessey and Bank of America and revitalising Dunhill's Jermyn Street store. "Form and structure" was his maxim for sound design. As I would say to a woman, first get the bone structure right, then put the flesh into position. After that you can go on changing the eyeshadow - the colour scheme - for ever. His versatility was severely tested in the interior design of the QE2 in 1969. His assignment was the main first-class saloon, The Queen's Room, which was exceptionally low and gloomy. Inchbald's solution was to install a latticed ceiling, lit from above, to give the impression of sunlight. Apparent height was added by giving the room's columns an upsweeping trumpet shape. Characteristically, Inchbald designed everything from ashtrays to carpet to chairs for the room. Many thought it the most successful project on any liner. He was often used by hotels, and designed the penthouse at Claridge's, the River Room and American Bar at the Savoy, and the interiors for the Berkeley. He raised the height of the washbasins by four inches to accommodate the Savoy Group chairman Sir Hugh Wontner's bad back. Inchbald was as comfortable with traditional looks as with modern, and restored the Crown Estate Commissioners" office in Carlton House Terrace. He was also consulted about changes to the decor of Buckingham Palace. Commissions came, too, from the Duc de la Rochefoucauld, the 13th Duke of St Albans, the 6th Marquess of Bristol and many other owners of stately homes. Inchbald was an urbane host and an accomplished raconteur. Energetic and refined, he had firm ideas on taste, but never strayed into pedantry. His marriage to Jacqueline, with whom he had a son and a daughter, was dissolved in 1964. She remains Principal of the Inchbald School. He married secondly, in 1964 (dissolved 1970), Eunice Haymes. Michael Inchbald, born March 8 1920, died February 23 2013