SBID continues to dig beneath the surface with another one of the SBID International Design Awards sponsors, sponsoring the Show Flats & Developments category. Rita di Venere, Export Manager at Foglie d'Oro shares how the brand upholds the founding-family's guiding principles in the noble art of wood to refine the traditional craft; bringing to market an authentic and high quality range of wood floors and surfaces which are actually 'made in Italy'!
What are the origins of your brand?
Foglie d’Oro is the luxury flooring brand of the Brotto family, for over 50 years the highest interpreter of a cabinet-making tradition that has its roots in time. Trained at a very young age in the noble art of wood, Sante Giorgio Brotto started his own business in 1966, building on his successes year after year, soon adding the realisation of high quality wood floors and surfaces.
The Brotto family represents the Italian mastery in the art of wood and the authentic 'made in Italy', with determination and passion. The beauty of creating beauty: this is the guiding principle, generation after generation, of the Brotto family. For this reason Foglie d’Oro is appreciated by a growing number of prestigious customers in Europe and around the world, from the US to Russia and China. A global outlook built on solid local roots: all products by Foglie d’Oro are manufactured at its headquarters in Rosà, near Venice, at the heart of a dynamic and creative territory, where excellence is an attitude and a lifestyle.
What value does your sector add to the interior design industry?
An awareness of environmental sustainability is increasing in the high end interior design market. The Brotto group interprets this philosophy in its most authentic sense, designing and manufacturing interiors that last and become a heritage to be handed down from generation to generation. An interior design project that uses the finest natural wood, ancient and at the same time surprisingly contemporary, is able to guarantee a unique synthesis of beauty, comfort and respect for nature. Wood is a living and versatile material and is able to find its application in environments with the most different styles - from rural chic to minimal, from classic to contemporary settings with concrete and metals.
How do you work with interior designers / How does your offering enhance an interior designer’s projects?
Foglie d'Oro offers a wide range of wooden floors, from simple planks and herringbones, to fully customizable design floors, available in many different finishes and materials. The company stands out for its ability to support specifiers and interior designers in the realization of complete and tailor- made projects. Above all, this can be done because of the complete control of the supply chain, responsibly sourced form FSC® certified forests of its own property, which allow to manage a raw material warehouse unique in the world for quantity and quality of wood.
The technical office works closely with architects and designers, following in a precise and timely way their creativity and technical requirements. A reliable and competent partner, Foglie d’Oro can support professionals working on projects from the initial brief all the way to the installation, not limiting itself to producing but also providing its own original technical and creative contribution to their clients.
What are the latest trends you’ve noticed in your client’s requests?
In a constantly changing market for luxury wood floors, we are seeing more demand for products with a contemporary look as well high design values and craftsmanship. The combination with different materials, such as brass, steel, marble and stone is also a growing trend.
As a result of its constant research and innovation, Foglie d’Oro is always developing new products. The range of colours and finishes is continually expanding to include a wide selection of contemporary colours, from natural soft greys to sophisticated dark fumed options. Products such as Matita and Azalea incorporate elegant brass and Mable inlays, which redefine the idea of floor as another element of decoration.
Why did you want to become a sponsor for the SBID Awards?
We are glad to support the SBID Award not only because it highlights and rewards design excellence all over the world, but also because it represents an important moment for elevating public awareness of design and strengthening the connection between business and design.
Sponsorship for the SBID International Design Awards 2020 is now open.
To find out more about becoming an SBID Awards sponsor next year click here or email [email protected]
We interviewed the SBID International Design Awards sponsor for the Restaurant Design category. Adam Hout, International Director at Perennials and Sutherland speaks about how the brand has developed since 1944 when founder, David Sutherland embarked on a mission to transform the outdoor furniture industry. From Sutherland furniture to the launch of Perennials fabrics, the brand now showcases the best of its luxury performance fabrics and rugs, as well as high grade outdoor furniture.
The story begins over 40 years ago with David Sutherland who opened with his first multi-brand showroom in Houston. This was followed by a flagship showroom in Dallas. He was the first to bring high-end designs from the New York and Los Angeles markets to the booming Texas market. In 1994 David embarked on a mission with friend and collaborator John Hutton to transform the outdoor furniture industry by creating a collection of teak performance with a level of luxury and comfort never before seen outdoors. Sutherland pioneered tailored “deep-seating” cushions and was the first company to introduce fully upholstered outdoor collections. For David and John, it was time to bring indoor comfort and design to the outdoors which was revolutionary at the time. Only in recent years have others embraced this trend.
Creating the best outdoor furniture came with a problem, there were no outdoor fabrics luxurious enough! David partnered with his wife Ann to create outdoor fabrics which looked and felt natural, complementing nature and yet bringing luxury feel to the space. Perennials began as an outdoor fabric brand, but now it is a Luxury Performance fabric and rug brand, with much of its sales attributed to indoors, contract, and hospitality use. Perennials has grown substantially in that time and rightfully sits as the leader in luxury performance.
The company expanded its showrooms across the US and in 2017 opened a direct subsidiary in London UK; showcasing the best of Perennials performance fabrics, rugs, and Sutherland furniture. The strength of this company is in its multi-channel dynamic business model. P&S is a manufacturer, direct wholesaler to the trade industry, and private / white label manufacturer. It owes its success to the designers that it serves, and they remain the main focal point of the business.
How do you work with interior designers?
We manufacture and wholesale highly technical products, therefore specification of our product by a qualified individual or company is the focus of our company. We want the end users to use and enjoy our products in the correct format, setting, and design – for this the designer becomes of paramount importance. We sell direct to the trade and collaborate with them to fulfil their requirements. We educate, train and support our professional clients to get the most out of our products. We believe in one to one relationships and always strive to individualise the service to our clients.
It was never Ann Sutherland’s initial intention for the outdoor fabrics to become indoor / contract fabrics. It was the designers themselves that began using Perennials fabrics for that purpose and this developed the brand into what it is known and respected for today. This shows that performance is important to designers and end users alike. The issue with performance fabrics is that more often than not, luxury feel will be compromised, usually encouraging the client to go with an indoor fabric for those spaces. That is where Perennials fabrics comes in. We manufacture velvets, linens, silks, bouclets; in complex designs and weave structures which look and feel convincingly natural. The compromise becomes negligible, the client can enjoy the feel of a luxury velvet whilst not worrying about stains.
This is possible through the Perennials yarn technology which is known as 100% Solution Dyed Acrylic. The colour is embodied within the fibre which makes it very difficult to separate the colour from the yarn, unlike traditional yarns where the dye is added later on. Think of a carrot that, when peeled, remains orange – the same can be said about the Perennials fibre. The fabric is inherently resistant to water, mould, bleach, UV, and almost any stain you can think of. The use of bleach allows the user to remove most stains. Our fibre also has an inbuilt Nano-seal technology which adds repellence, with liquids splashing off.
Many other fabrics in the industry are also called Performance fabrics: Polyester and Polypropylene being two examples. They do not perform anywhere near as well, the colour does not hold and the quality and feel is not comparable. Many brands will add performance through using chemical top sprays which simply do not last and are not desirable. Customers often ask about sustainability: my answer is that Perennials is highly sustainable because it lasts an extremely long time and can easily be re-purposed.
What makes Perennials so special is that we have over 130 fabric lines, qualities, and over 1000 SKU’s of fabric using this technology. Whatever the project; whether a restaurant, a yacht, or a residential sofa, the client does not have to compromise to get luxury and performance together: a strong value proposition indeed.
How does your offering enhance an interior designer’s projects?
Our performance fabrics and rugs are not only an item of beauty, quality, and soft touch – but they bridge the gap into being a technology product. This enhances our client’s ability create a value proposition to their client. If something is beautiful, great, if it also more durable, cleanable, and will last longer than anything else, then even better!
Sutherland offers a unique aesthetic of understated luxury, combined with a focus on high grade raw materials, and comfort. The brand is world renown for bridging the gap between outdoor and indoor, not compromising on the outdoor area. Sutherland offers designers full customisation of product at a dedicated custom workshop. Whether you look to start from scratch or merely tweak an existing Sutherland piece, our product development team will partner with designers to create custom outdoor furniture guaranteed to be the perfect fit for your project.
The autumn trends appear to be embroidery, flowery prints, jacquard effects, and natural wool blends in fashion; and this has crossed over into the interiors industry. The Timothy Corrigan for Perennials collection reflects these trends well as do some of our longstanding natural weaves.
We want to give back to the industry and SBID is the perfect partner and platform for that. SBID is a shining light in the industry and is a strong facilitator for the the various participants.
The SBID International Design Awards winners for 2019 will be announced on Friday 25th October! Tables to attend this year's SBID Awards are now sold out, but a limited number of individual tickets are still available. Book a seat now! To find out more about sponsoring the SBID International Design Awards next year, email [email protected]
We interviewed the SBID International Design Awards sponsor for the Residential Design Over £1M category. Alexandra Lewis-Singer, UK Managing Director at THG Paris shares insight into the history of THG as a growing family venture lead by three successive generations. Since 1956, THG has evolved its designs and product lines, but their ethos remains the same. Representing timeless luxury and celebrating the art of living with a high-end collection of bathroom fittings and accessories.
Since 1956, THG Paris has established itself as the brand for high end bathroom fittings and accessories. THG Paris resulted from the meeting of three men, André Tétard, Julien Haudiquez and Alexandre Grisoni, who in 1950 created “Robinetterie de la Poste” in Béthencourt-sur-Mer. A few years later the company moved to new premises and changed its name to THG. The brand was active at that period in standard tapware. In the 1970s, THG turned to design valves and has since developed a large range of collections and a extensive catalogue which today, three successive generations continue to work on.
We endeavour to assist with providing expert knowledge, quality products and outstanding service. We also provide advice on specification for private properties & larger projects.
The bathroom has become one of the most important areas of a home. It is now the only room that remains private as open plans appear everywhere. As a result, clients turn that room into a Jewellery box and our luxurious brassware allows for bespoke designs.
Our sales consultants’ knowledge is both technical and aesthetic, and designers can rely on the service provided. It brings them peace of mind that nothing will be missed. Also, the vast range of products we offer (150 ranges of taps available in over 20 finishes!) goes from the most classical style with crystal and semi-precious stones to cutting-edge and contemporary.
Gold is back, but with a twist. A lot of bronzes, brushed finishes - and our pale gold is this year’s best seller!
We wanted to support the design industry and champion magnificent interiors. Craftsmanship is why we are in this industry and without these properties, we wouldn’t be able to manufacture these goods.
The SBID International Design Awards winners for 2019 will be announced on Friday 25th October!
Tables to attend this year's SBID Awards are now sold out, but a limited number of individual tickets are still available. Book a seat now!
To find out more about sponsoring the SBID International Design Awards next year, email [email protected]
SBID caught up with this year's SBID International Design Awards sponsor for the Public Space Design category. Dominik Cienciala, Business Development Manager at Sans Souci talks about how the Czech provider of tailor-made light fixtures use their refined skill, expertise and drive for innovation in the art of decorative glass fixtures to deliver superior lighting and glass solutions for interior designers.
Sans Souci is a Czech designer, solution maker and producer of decorative glass lighting fixtures, glass objects and architectural features. Our know-how combines many years of experience, knowledge of blending traditional production of crystal installations with latest technologies such as nano-coating, as well as 3D printing. Our bespoke installations can be found across the world, from the USA to Japan, either in hotels, private residencies or super yachts.
We closely cooperate with interior designers from the beginning until the end of a project. The company has representatives across the world, who are experts in glass objects, lighting and delivering the best solutions. Our aim is to collect information about a project through personal meetings and discussions over mood boards. Our internal designers work alongside with clients and we develop visualisations and concepts together. Then we deliver drawings, final solutions and moving to our production. We focus on smooth and effective cooperation which leads to stunning installations and the client’s satisfaction.
Sans Souci is understood as an explorer and visionary in the glass industry. Our vision is to deliver great and quick service with innovative solutions. Therefore, we educate designers and partners about our capabilities as well as latest technologies. For instance, our nano-coating technology uplifts the characteristics of glass with practical features such as anti-reflex properties and unique colour finishes.
We are flexible and quickly responding to the demands. In close cooperation with our production in the Crystal Valley in the Czech Republic, we give immediate answers about the production feasibility. Also, our trained representatives are capable of delivering immediate solutions and benefits of crystal finishes. We also believe that crystal and natural light plays a significant role in lighting up the spaces and designers/clients can benefit from our know-how, uniqueness, flexibility and follow the latest trends in natural settings of interiors.
Our cooperation started 7 years ago and its an honour for us. Through this opportunity we believe we can raise the visibility of Czech crystal production beyond the Czech republic and educate the world about our heritage, tradition and innovation.
To book a table to attend this year's prestigious Awards, click here
To find out more about sponsoring the SBID International Design Awards next year, click here
SBID caught up with this year's SBID International Design Awards sponsor for the KBB Design category. Margaret Talbot, Marketing Manager at VitrA UK shares more about the story behind the brand; from its very beginnings as a Ceramic Factory in Turkey to it's current standing in the international sanitary and brassware market, VitrA highlights some of the incredible work they do with interior designers and the industry.
VitrA’s heritage can be traced back to 1909, when the renowned Turkish pharmacist Süleyman Ferit Eczacibaşi began producing bathing and cologne products in his pharmacy in Izmir. The Dr Nejat Eczacıbaşı Ceramic Factory, as it was then called, was the forerunner to VitrA. After the Second World War, there came economic revival and an increased demand for ceramic sanitaryware. In 1958 the company opened its first modern production plant and by 1966 became known as VitrA. In order to diversify the company, a brassware plant was opened in 1979. The brand, now an uncontested force in the market, was launched internationally in 1983.
When working with an interior designer, a clear and open dialogue is crucial. The VitrA team immerses themselves in each project, gaining full understanding of the designer’s aims, as well as the challenges that any individual project may pose. To ensure the VitrA team clearly understand the designer’s vision, the first step is for them to provide a brief and an initial mood board to define the scope of their work and provide valuable details on materials, colours and their initial considerations for the bathroom design.
Then follows the conceptual development stage. At this point, a layout design with more technical information and specifications is produced. A specification manager from the VitrA team will use their technical expertise to anticipate and solve any potential problems before they arise to ensure the project runs smoothly all the way through to completion. The designer is heavily involved and works closely with the VitrA team at every stage – this means that both parties, as well as the end client, are pleased with the finished project.
VitrA is passionate about challenging traditional views of the bathroom as a purely functional space and enabling designers to express their creativity in an often-overlooked area.
Led by our Design Director, Erdem Akan, VitrA’s highly accomplished in-house creative team represent the backbone of our design philosophy and culture. They are supported by the multi-disciplinary teams at the VitrA Innovation Centre, which was built as a place for architects and designers to free their imagination and express flair in their product design, while also feeling safe in the knowledge that our specification managers are on hand to ensure that all products meet both the technical and aesthetic demands.
This creativity manifests itself in VitrA’s collaborations with world-renowned designers such as Claudio Bellini for Equal, Ross Lovegrove for Istanbul, Terri Pecora for Plural and Matteo Thun & Partners for Water Jewels.
Superior quality, supply of product and reliable versatility are hallmarks of the VitrA brand, and every component of the bathroom benefits from VitrA’s strong focus on advanced technology and imaginative design. The dedicated team of VitrA product designers collaborate with top global experts to establish new and innovate ideas that enhance not only bathroom aesthetics and functionality, but also each interior designer’s projects.
The new ‘Living Bathroom’ concept presents the bathroom as an informal living space. This evolution of the bathroom ritual celebrates wellness and the joy of spending time in the bathroom. American designer Terri Pecora’s Plural collection for VitrA presents the bathroom as a social hub where people can meet and reconnect. Another big trend of note is the use of geometric shapes and monochrome tones, as used in the Equal collection by Claudio Bellini. Using clean, minimal borders and industrial, metallic accents, Bellini’s designs emulate the structures found in modernist architecture.
We are pleased to be a sponsor of the SBID Awards as they are one of the most prestigious interior awards in the design calendar. VitrA is keen to support interior designers and their fantastic work in the kitchen, bedroom and bathroom sector.
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.
In keeping with the aim of global design excellence for the next generation, we gathered the world’s best experts across five competitive creative sectors to be judges in the SBID & BEOPEN Student Design Competition, Designed for Business. On Tuesday 18th September, we rounded up this panel of esteemed professionals to discuss, deliberate and decide on our fortunate finalists and lucky winners for each of the creative categories across Interior Design, Interior Decoration, Product Design, Art and Fashion. The finalists are set to be announced on Monday 29th October 2018!
Following our interview with the Founder of HG DesignWorks, Hans Galutera, we spoke with Architect and Courser Leader, Russell Gagg to discover what he has learned from working in architectural practice since the 90's, before becoming a degree level educator.
I am currently Course Leader and Principal Lecturer of BA (Hons) Interior Architecture and Design at the Arts University Bournemouth.
Having graduated, I entered the Manchester architectural scene in the early ‘90s – an environment that was dynamic and highly competitive. The city was enjoying a re-birth and understood that the re-use of its industrial heritage was the best route to a sustainable future. At the time, a small number of practices shared this understanding and pushed themselves to create ever-more progressive architecture which would meet the demands of urban growth. Working for them was equally demanding but also rewarding, enabling young architects such as me to gain diverse and invaluable experience across a wide range of design. You were expected to learn quickly, be adaptable, resourceful and resilient and to meet deadlines; you were also expected to challenge the norm and take creative risks. It was tough – it still is tough – but it was worth it when you see people enjoying a city that you played a part in rebuilding.
Over a period of some fifteen years I worked in architectural practice in Manchester, Kuala Lumpur and Singapore. After a year travelling around Central and South America we settled in New Zealand where I spent a short time in practice and then started teaching architecture at undergraduate and post-graduate levels at the Victoria University of Wellington.
This experience enabled me to apply for the leadership of the Interior Architecture and Design course at the Arts University, where I have been since 2006. It’s a great job in a dynamic institution and I share this with highly creative staff and students. Together we have grown and developed the course to become one of the largest and most progressive in the UK – a course which really challenges the accepted boundaries of what the “interior” can be.
Which people do you admire most in the industry and why?
There are many highly successful individuals and practices. What I most admire is the adaptability, dynamism and skills of the industry itself. Interior design practitioners are experts at understanding the potential of design opportunities and applying their creativity to grasp those opportunities – it really is the most exciting area of design.
How do you feel about being a judge for this new student design competition?
This is one of those opportunities. The SBID Design for Business student competition will have such an impact on the lives and careers of those who enter. For the winners, it could really be a game-changer.
How did you find your judging experience?
It was such a pleasure to see such a high standard of work from across all the categories and to listen to the comments from design experts and industry leaders in those fields. I hope the students enjoyed their projects because the judges certainly enjoyed looking at them.
What advice would you give a young designer starting out in the industry?
Patience. You have to work hard. Enjoy yourself when things go well and reflect critically when they do not. Accept that this all takes time and does not happen instantly. Working in the creative industries is immensely rewarding but that reward only comes to those who stick with it and keep working at it.
If you had won £30,000 just after graduating from University, what would you have done with it?
I would travel - there is no better inspiration.
Click here to find out more about this year's Designed for Business judging panel or visit our website, here, for further announcements and information about this inaugural, life-changing student competition!
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.
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