This week SBID interviewed Charu Gandhi, Founder and Director of the award-winning luxury interior design studio, Elicyon. Charu talks about her feelings of disconnect between architectural training and architecture in practice; particularly, how this influenced her decision to pursue a successful career in interior design. From just a childhood vision to become an Architect, Charu now shares her professional insight into the industry with concerns for the issue of waste within the interior design profession as a whole.
Can you describe your current job?
I am the Founder and Director of interior design studio, Elicyon. Based from our studio in Kensington Village, I lead an expert team of 21, working across ultra-luxury developments and private homes in the UK and around the world.
What is your background and how did you get into interior design?
I originally trained as an architect at the Architectural Association in London, which led to seven years of formal training. I went on to work at Allies & Morrison Architects in 2006, working with luxury residential clients, as well as contributing to large-scale projects like the Doha National Library and the London Olympics Masterplan.
Whilst the allure of architecture was certainly all-consuming during my training, in practice the vocation didn’t really give me the satisfaction I had expected. I was critical of the fact that everything had to be post-rationalised. Everything had to have a gravity to it, which I feel interior design doesn’t overly do. It doesn’t complicate. In architecture, you can’t say something is beautiful for the sake of being beautiful, it’s too blasé and surface-level and architecture tends to think more intellectually than that.
At that point, I thought I would leave design and become an investor. I was planning on going to business school, and I got into a school in France, but at the same time a friend of mine who worked at Candy & Candy had rediscovered her love for design and convinced me to apply. There, I worked on the private commissions team on projects in India and Africa, as well as residences in the prestigious One Hyde Park development in London. A connection at One Hyde Park was the catalyst for my decision to start my own interior design business, when I was offered a refurbishment project in the development.
Describe an average day in your job role..
Every working day is completely different, which I love but which can also be challenging in terms of time and diary management. During a ‘normal’ day, I catch up with the team to discuss ongoing or upcoming projects; I will then usually have one or more meetings with our suppliers in our new studio, going through their latest products and discussing how they could work for a project. Clients also love coming into our new studio as we have a very impressive sample library where they can take the time to look through all of our exquisite stone samples, carpet, furnishing fabrics and wall coverings. I will sometimes have a dinner or after-work function, but I do try not to go to more than two evening work events each week so that I can spend quality time with my family in the evenings.
Which elements of your profession do you enjoy the most and/or find the most rewarding?
Our work is all about storytelling and taking the client on a journey. We want them to fall in love with design, with the craft, to have a sense of self-actualisation – when this is achieved on a project, it is hugely rewarding.
I also greatly enjoy working with our esteemed and trusted suppliers. The craftsmen and artisans that we work with – some of the world’s leading glass makers, crystal makers and innovative producers of plaster work, finishes and furniture – are my single biggest inspiration. Understanding how something is put together, the process it undertakes, the precision of the craftsmanship, lights a creative fire for me.
Is there anything new you are excited to be working on?
I am really looking forward to completing our first hospitality project – a boutique hotel in Sri Lanka – as well as completing our stunning penthouse project in Dubai later this year. We are also excited to be working on our second project in China – an incredible residential development.
In London, we are working on a number of very exciting projects including a lateral duplex apartment in Knightsbridge for a private client. Here, we are reinstating period features whilst creating a contemporary family home. Another private client project in Knightsbridge on Ennismore Gardens also involves working in a period environment – the two apartments we are designing are both set within a listed building. One is a duplex apartment with a beautiful feature staircase and the other is a large lateral apartment with expansive windows and stunning ceiling heights of 4 meters.
We are also working in the super prime Clarges development in Mayfair – our design for one of the apartments within the building celebrated the Art Deco theme of the wider scheme but adds a modern twist and focuses heavily on artwork with prints, photography and sculptural works dotting the property.
Whatever comes our way, we’ll continue our adventure with design, beauty, craft and innovation that enables us to take clients on an incredible journey of exploration and enjoyment. As we remain a boutique studio, it’s a pleasure to work with our select few discerning clients who are ready to go on the adventure with us.
What do you find the most challenging aspects of your job?
I always say that our biggest challenge is the next one. We are always striving to learn, grow and push the boundaries so that both our skills as designers and our projects are in an ever-evolving state.
I am constantly developing as a designer, a studio lead and businesswoman, and am very self-critical with both myself and the team on any lessons learnt. We are always questioning how we could do something more special, more groundbreaking with each project.
What do you wish you knew before working in the field?
I had already trained as an architect when I made the very conscious decision to move into the interior design industry, so I felt quite well-informed about the filed at that stage. However, before going into architecture, I was definitely unaware of how much the work of an architect is influenced by governmental legislation, policies and funding, as well as a myriad of conflicting stakeholders. Luckily, during my training I studied at the Architectural Association in London which fostered much more of a creative, idealist and visionary concept of architecture, which I rediscovered when I moved into interior design. I knew then that maintaining a strong sense of idealism was important in my career.
What would you tell your younger self if you had the chance?
I would have told myself that resilience and developing ‘scar tissue’ from enduring a few knocks along the way comes with time. I would have allowed myself to be a paranoid optimist sooner – which is what I am now. It means I am really particular about the design and execution work in the studio. I would have been brave enough to surround myself from the start with a team of people who are better than me. This can seem very scary at first, but it’s one of the most important things I’ve learnt in running a studio. When I come to self-reflect, I often refer to a line from a poem by Maya Angelou:
“Do the best you can until you know better. Then when you know better, do better.”
What has been your favourite project to work on?
All of our projects are significant to me, each for a different reason. We recently completed a three bedroom apartment in One Hyde Park in Knightsbridge, London – our seventh project there. The building holds a special meaning for me as it’s where Elicyon began – we did our first ever project there in 2014. I enjoy making each apartment we work on at One Hyde Park unique, even though the spatial environment and layouts are similar.
Having grown up in India and retaining strong roots, working in my home country had been a long-cherished ambition that I achieved through working on a new, luxury residential development in Mumbai. It was wonderful to combine my knowledge of the city, culture and way of living to the project with a strong influence from my design studies, which are European in origin. The project’s vision represents a moment in my personal design journey; a confluence of east and west, celebrating both without detracting from either.
What do you think is the biggest problem the interior design industry faces?
An article in the FT back in 2018 reinforced my view that we need to lend some common standards in our pricing models for the sake of clients. The article was titled ‘how to see through the smoke and mirrors of architects’ and designers’ fees’ and it very succinctly described what we often see; a lack of transparency, clarity and consistency which leaves our client base feeling baffled, unsure and in the worst case, cheated.
A shared sense of self belief so that we price our fees better and also pay our staff better. I hate hearing of a young designer who has invested into their education only to be told they have to work for free to get a foothold into the industry – that has to stop.
I also think we need to address the issue of waste within interior design. So often, designers sulk when a client wants to reuse or re-purpose an existing piece of furniture or a fitting, but I think this presents an excellent opportunity to restore and respect older, used pieces, rather than just throwing them away and starting afresh. It can take a lot more time and effort to do this, but it is hugely important. For example, when taking out an existing kitchen or bathroom, we try to salvage as much as possible to use in the new design or ask the owner if we can auction or donate the parts so that they are reused. I’ve never had a client say no to this when asked. When we build, we also build to last – longevity is a key part of our design process.
Which people do you admire the most in the industry and why?
When I was a child in India, my parents decided to build us a new home and worked with architect Sujata Kohli. I would watch Sujata walking around onsite, instructing construction teams and implementing her vision and I was very enamoured by her. For me, she combined a scientific, analytical mind with creativity and this became my goal for my future career.
Sujata is still my mentor and someone I greatly admire. She encouraged me to attend the Architectural Association in London, which was the beginning of my training and career, so she has played a big part in my life.
If you were inspired by Charu’s story and want to learn more about the role of an interior designer, click here.
This week SBID interviewed Michael Seum, VP Design at GROHE to discover more about his journey through the interior design industry; from a vision for architecture to finding his calling in product design. Michael gives us the inside scoop on his role as VP Design, the importance of motivation, and even shares his secret for inspiring and maintaining creativity!
As VP Design for GROHE, my job is to connect creativity with commercial for the company and be the creative horsepower and the biggest advocate of Grohe’s excellent design team. It’s my job to lead a team that focuses not just on consumer needs, but consumers’ desires and we put a lot of passion and emotion in our work.
My background is in industrial design and I started my career with the intention of going into architecture. As a child I was always very curious and a creative nature which I was fortunate enough to have fostered by my parents. However, I have always felt an affinity for space and experience and it was actually this that brought me to product design. I have always been interested in the relation of people to an object or an experience, just like an interior designer does; in this role, I am bringing products that work within the interior space wherever there is a water experience.
Whilst there is no such thing as a truly ‘average’ day in my role, an ideal day would begin with breakfast with my children at home at 7am. I then head to the office at 8.30am where I have a cup of coffee. I’ll check my to do list and walk through the office to see my team. From 10am I jump straight into project work and meetings to make sure projects are moving. This takes most of the morning. I always eat lunch at my desk, around 1pm, for efficiency and in the early afternoon I will spend time catching up on the latest world design news and developments. The rest of the day will revolve around further project work and meetings until I leave the office at 6pm. I go to the gym religiously and believe a healthy mind is good for creativity. I then go home and recharge for the next day.
Working with a talented team that actually operates as a team and a collective community is incredibly rewarding, especially as it shows in our work.
What are the latest plans for Grohe? Is there anything new you are working on?
We are focused on reframing the relationship we have with water. Whether you are consuming water or using it for hygiene, it’s always going to re-energise us. Without revealing too much, we’re focusing on really meaningful innovations that reframe our relationship to the precious resource of water. You will see this in the coming months, especially as we get closer to the ISH show in Frankfurt.
For me, the challenge is the same as the reward; keeping the team motivated. It’s not easy to get a product from a price of paper to a world-wide marketed product and sometimes that can mean working behind the scenes to break down barriers to keep the focus on the long-term design plan. I find keeping a positive mindset helps with this.
I came into the field knowing it would be different every day. But I guess it would have been nice to have known just how diverse it could be. I never expected that I would have the opportunity to work all over the world!
That extra hour at lunch is not a bad idea!
The next project, always! For me, the whole reason for being a designer was to take on the challenge of the next project. I love not knowing what could be next, and then drawing inspiration from my experiences so far to make improvements on the next project.
Instagram! There is so much digital influence on a daily basis now that consumers are seeing similar styles echoed. I find that if I want to seek new inspiration then I need to look outside of Instagram. It also surprises me how so many inspiring interior design shots are void of people when, ultimately, these spaces are designed for people.
The people I admire most in the industry are very humble; they are the people working behind the scenes, avoiding the limelight but still producing amazing work.
What are you most looking forward to at Sleep + Eat 2018?
I like that Sleep + Eat focuses on a big design topic – the hospitality industry. This interior design sector encompasses a lot of design considerations and, whilst GROHE has a lot of expertise in the sector, I go to the show to learn.
If you were inspired by Michael’s story and want to learn more about interior design, click here.
On SBID’s journey to discover more about the personal experiences and careers of interior and design professionals throughout the industry, we interviewed the CEO at Panaz Holdings, Tony Attard. Tony shares his approach to that all-important work-life integration, the latest on his design agenda, as well as his thoughts on the predominant issues faced by the industry as a whole.
I am CEO of Panaz Holdings, Chairman of Alusid, Chairman of Marketing Lancashire, Director of BCFA and currently High Sheriff of Lancashire. My jobs are primarily strategic although I get involved with many of my company initiatives to ensure they are delivered OTIF (On Time In Full).
I was always interested in the integration of Art, Design, Marketing and Business. I therefore applied to study Fashion Design at St Martins, and Design Management at the University of Manchester (formally UMIST). I eventually opted for Manchester as it was a little more technical (BSc) and I was offered a University scholarship by Courtaulds which ensured a fast track career in Industry. Design is to me about the delivery of a brief, and should be manged like any other management decision. Of course there is inspiration, but that should not be at the expense of delivering on time. The more stress, the more creative the solution!
My life is not about balance, it’s about life work integration. I wake at 6.30 am and either go straight to my computer to check emails and prepare for the day, or go to the gym. Either way I then shower and have a cup of tea. I have given up on Breakfast as the healthier option and do not eat until lunch time. I get to my first meeting either at 8.30 or 9.00 am, dependent upon who else needs to get there. As I have no children at home any more, child care is not an issue for me as it may be is for others. I am usually in meetings most of the day, however as I am now High Sheriff, I could have a number of other priorities. I represent the Queen for the Judiciary, therefore I could accompany a High Court judge on the bench for a trial, I could also be out with the police force or fire brigade, or even an ambulance. Meeting people in the voluntary sector has a been a great part of being High Sheriff; the work that they do in the community is invaluable to so many vulnerable people and must be encouraged and rewarded. If I am in London I usually eat out with friends or customers and then get to bed about 12ish. If I am at home in Lancashire, I have dinner with my wife Patricia, usually on our laps and watching an episode of a program we are following (Killing Eve is our latest one!). Then, I retire to my study to write an article (like this one) or catch up on the news, prepare a report or read a board meeting agenda. I usually go to bed at 11.30 pm and read for a bit before turning off the light as my eyes start to drop.. Kindles are great because I do not need the big light on!
The most rewarding aspect for any creative is to see one’s work in the marketplace. I love creating collections with my Head of Design, Sarah Lloyd and her team, but unless anyone buys it, we have not been successful in interpreting what our customers require. It’s always very gratifying to see our fabrics in an interior either great or small, and to see that our vision can become reality.
Is there anything new you are working on?
There are so many different things. We are constantly working on new collections at Panaz, releasing 10 – 12 per year. But the new Alusid Silicastone brief is particularly interesting. Alusid is a very new company that is making a new material called Silicastone that was developed for solid surface and tiles out of a sustainability project at the University of central Lancashire. It uses two waste streams from broken pre-consumer ceramics (baths, toilets, shower trays, tiles) and post-consumer glass that would usually go into landfill. We crush it and then make great solid surfaces for table tops, work surfaces, and wall tiles. The effects we can achieve have been quite amazing. There are a number of furniture companies now using the product as a standard working surface for tables and we have installed it in a number of Architectural projects. The tiles can be used inside or outside – are frost resistant and have high colour fastness to light. We have just been granted a Design Guild mark for it!
Keeping creatives working on time!! No seriously, I juggle a lot of balls and try not to drop them. It makes for an interesting life!
I got great technical training from the University so I was able to contribute quickly to Industry. I would have liked to have known more about how to start a business, however maybe naivety in that area helps you become fearless. You cannot be frightened about what you don’t know!!
Don’t say no to an opportunity because it may never come around again.
I am very fortunate to have had a great creative life, I have great customers who work on some amazing projects with us, including Palaces, Cruise ships, Restaurants, Night clubs, Hotels, healthcare facilities, Hospitals and work spaces. Each project is different with many interesting solutions so to pick one out is very difficult.
I think that Interior design is very undervalued. There is the MD’s wife syndrome where somebody that does up a home thinks that they can create a commercial interior. Dreadful mistakes can occur when this happens. The Industry must ensure that professional integrity is maintained and standards upheld. I also think that people should value intellectual copyright.
Anybody that works that extra hour or goes that extra mile to ensure a customer is happy and satisfied.
If you were inspired by Tony’s story and want to learn more about interior design, click here.
SBID continue to explore the personal journeys of interior design professionals throughout the industry. This time, we interviewed the Head Designer at Evan’s Textiles, Bethany Grace Lewin, as she talks about her desire for creativity from a young age, the day-to-day life of a textile designer, and what it’s like working directly with interior designers!
I’m Head Designer at Evans Textiles which is one of the UK’s leading suppliers of soft furnishings to interior designers, specifiers and industry professionals. The majority of what I do is based in interior textile design and creating unique printed fabric designs that meet our clients’ interior design briefs – which can be for both domestic and contract markets. We’ve recently seen an increase in the popularity for our bespoke contract fabric designs and I’m very excited to say we’ve launched a new division which focuses solely on designing contract fabrics for healthcare and hospitality environments. Needless to say, my role and responsibilities are changing to meet this growing demand for our contemporary bespoke fabric designs.
What is your background and how did you get into textile design?
Since a young age I’ve been fascinated by art and design – the way it can influence a behaviour, tell a story or change a mood. I studied Maths, Biology and Economics during A-levels, but I always found myself gravitating towards art and design as I’ve always had a creative flair and felt strongly about using my artistic talent within my career. I went on to do a foundation degree in Textile Technologies, Photography and Fine Art & studied a BA (Hons) Fine Arts Degree at the Manchester School of Art. I have furthered my practice with a Post Graduate Certificate in Art & Design Education and a Master’s degree, in which I specialised in painting, print, drawing and illustration. I now use my qualifications and skills to produce high quality artwork for our interior design clients.
I’m usually up quite early around 6.30am and I’m in the office by 8.30am. As soon as I’m in the design studio, I check my emails for anything urgent over a coffee, then it’s straight to work. There’s never a dull moment and no two days are ever the same – that’s why I love my job. You have to be versatile and quite resilient within the team as the briefs can come in thick and fast and as we’re producing custom artwork daily on a variety of different base cloths, there can be a lot to manage as our clients have expectations and can often be working to tight timescales. I generally work up until 5.30pm but it’s not uncommon for me to take work home as we’re all about meeting our clients expectations.
I love to see the finished article come together in situ. It’s so rewarding to see the design I’ve been working on make a difference within an interior design scheme – and because our designs are hand-crafted and cannot be found elsewhere, they often take centre stage as the focal point in a room and give that ‘wow’ factor for our clients and their customers.
From concept to completion, I enjoy the work but it’s also brilliant when an interior designer repeatedly comes back to us with new and exciting ideas knowing the possibilities are endless with our bespoke design service and that we can and will deliver their project within budget and on time.
What’s the latest plans for Evans Textiles, is there anything new you are working on?
We’ve just launched our new division, Bespoke by Evans that specialises solely on performance fabrics for dementia care homes and healthcare facilities. We’ve created a core collection of FR contract fabrics that offer a contemporary take on the more traditional designs that you’re likely to see in standard pattern books. Plus, we have the option of our truly bespoke contract design and print services too within this division so there’s ample choice. All our designs incorporate patterns, scale, texture and familiarity so they can be used across a number of applications from bedding, seating, upholstery to drapery and more. With Evans having over 100 years’ experience in soft furnishings, the division is also able to tap into our core products like curtain lining, window blinds and curtain tracks meaning many of the essential elements for a redesign can be found in one place – saving our clients time, resource and money! I’m very excited to see what the future holds for our new initiative I think it’ll be very exciting for our clients too.
Although it’s cliché to say, often it can simply be there’s not enough time in the day. Meeting our client’s brief is our top priority so we work around the clock to create concepts, colourways and designs. There’s no fixed rule for what signifies a good design as it’s so subjective, so if we receive an unclear brief or our clients’ customer isn’t sure, it can be quite difficult to understand and manage their expectations within a certain time frame.
What do you wish you knew before working with interior designers?
The granular detail. From the outside looking in, it’s almost too easy to think interior design is all about aesthetics but there’s so much more to it. The coordination of materials, safety, design elements and space are fundamental and as we work collaboratively with all our clients, we gain a deeper understanding into the demands and strain on their particular projects.
Trust your instincts!
That’s a tricky question as every brief we receive is very different and the requirements of the client and their customer can vary greatly. There’s a botanical design that we worked on very recently for a care home it’s been a huge success with residents and staff alike. In fact, it’s been such a success it has been recognised for an International Design award by the Society of British and International Design. That’s a design I’m quite proud of.
Due to the popularity of the internet and the rise of social media, I think the traditional way of choosing a fabric design has changed and many interior designers risk missing a trick by not adapting. The days of carrying around numerous heavy traditional pattern books with limited design collections is fast coming to an end. Nowadays, both savvy interior designers and indeed their customers take to websites, Instagram and Pinterest to find inspiration. This is something we’ve actively tackled with Bespoke by Evans. Our clients can showcase our range, request free swatches, an initial design concept or request a brochure for their customers all on our website. We’re also active on social media channels too so there’s always something new to discover.
If you were inspired by Beth’s story and want to find out more about interior design and the role of an interior designer, click here.
SBID are delighted to launch a new blog series designed to dig beneath the surface of the interior design industry, exploring the personal journeys of professional, practising interior designers across this diverse, far-flung field. With the aim of peeling back the glamorous guise of interior design which extends much deeper than perception permits, we get the honest and exclusive insight on what it’s really like working in the Interior Design industry as an interior designer.
For our first interview, we talk to Interior Designer and Director of HomeSmiths, Jacqui Smith, as she discusses her work-life balance, how she uncovered her lingering passion for interior design and her unusual route into the industry.
I run an interior design practice in Sussex with my husband David, working in healthcare and private residential.
Since a young age I would decorate dolls’ houses and spend hours rearranging my bedroom. Graduating from St Andrews with a degree in economics and maths I ended up in marketing but never felt that I fitted. My free time would be spent on all things interiors be it my own home or those of friends. I met my husband, David who at the time was a cabinet maker. Friends would say, ‘wow you two could work together’. With impostor syndrome looming I did not see how at the time but then we decided to set up HomeSmiths as a bespoke furniture business. Clients would ask David for advice on colour and that’s how it all started for me. People responded well to my ideas so I decided to take some courses, build up a portfolio and very quickly our client base grew. In 2007 we closed the workshop and focused purely on interior design. David still designs furniture but is no longer behind the bench.
Describe an average day in your job role…
I am very much a morning person. Assuming I am not due on site early I will start my day with at least 15 minutes of exercise before breakfast. This wakes me up, clears my brain and definitely helps me focus during the day. Usually at my desk for 8am, I like to have clear chunks of time for my design work rather than dipping in and out so I tend to clear my bitty jobs first. Running a number of projects at any one time those small jobs can take my brain into lots of different places so by clearing those first I can then focus on designing with a clear mental desk! Lunch sometimes involves a walk, it depends on the day but I never miss lunch and make a point of stopping rather than eating at my desk. I aim to finish at 6/6.30pm. Six years ago I lost the sight in my left eye. Before this happened I would often work late but these days I am too tired to do this consistently. There will be the odd time when I am working on a deadline which keeps me in the office until 9pm, but any later than that I find is complete false economy as I tend to sleep poorly and feel less on it the next day. After work I cook dinner, I might go for a walk or just relax with David and my two teenage sons. Family time is really important to me.
I LOVE working in healthcare design. The built environment can have a massive impact on a person’s health and well-being and support them from a sensory and cognitive perspective. Well designed living spaces keep people independent for longer and everyone benefits from that. When I see the community’s residents use the built-in spaces that I have designed, that’s a wonderful moment. Not from an ego perspective since I genuinely feel that there is no place for ego in healthcare design, but as pure job satisfaction.
Being let down by suppliers, dealing with constantly moving fit out dates and trying to keep everyone happy. I am not a fan of confrontation. When I shared this once with a rep she told me that I was in the wrong job! I have got tougher over the years but I don’t feel the need to throw my weight around and I feel that our clients and suppliers respect me for that. I care about our clients, our team and am a very fair person and at all times professional, so when met with unreasonable behaviour, I can struggle.
“Interior design is not about the latest kitchen or the most expensive wall covering, it’s about creating environments that people want to spend time in…”
I do think I went into it with my eyes wide open. I do love a spreadsheet and the paperwork side has never phased me. Some designers I know who have closed their businesses will say that they found the admin/planning side too onerous. The reality is that interior design is hard work, stressful at times and rarely glamorous, but I knew that from the start so my expectations were fully managed!
Believe in yourself. A talented New York designer who was an ex-banker once told me that to be a successful interior designer you need to be “great with colour, organised and smart”, and I would add to that – good with people. Had someone told me that when I started out I would have felt more confident in the early days.
On residential, a country house in East Sussex and on healthcare – that’s a hard one, but I would probably say a dementia home in Ipswich.
Brexit! I know that’s potentially a predictable response but I feel that people in the private residential market are more cautious at the moment and in healthcare we have had projects delayed, pared back or clients have felt that they can save on the engagement of a professional and do it themselves.
I admire any designer who is down to earth, authentic and hard working. Interior design is not about the latest kitchen or the most expensive wall covering, it’s about creating environments that people want to spend time in but crucially, ones that work, ones that make day to day living easier. A room can look stunning but if the needs of the people spending time in it have not been considered then that’s not interior design, and the needs of people in the space is so incredibly important in healthcare design.
If you were inspired by Jacqui’s story and want to find out more about interior design and the role of an interior designer, click here.
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