Transforming London: The New Breed Of Designersat the Super-Prime

London's modern-day HNWs have different priorities and needs for their houses-- and fresh new designers are stepping up to satisfy the challenge with innovative approaches, writes William Cash.

Every years-- or generation-- London sees a new type of interior designers or 'developer-designers' who stick out and speak to a visual voice, whose vision mixes effortlessly with the architectural zeitgeist. While many HNWs have heard of Candy & Candy (or at least their Monaco superyacht), Finchatton, or a custom firm like Fenton Whelan, these 'designer brand name' companies are all now considered as well developed. In other words, they've made lots of cash developing in London's super-prime market, which up until recently was up 40 per cent given that 2009.

Nevertheless, following punitive stamp task walkings, London's super-prime market is down 20 percent. 'Billionaires are shunning the London luxury residential or commercial property market, with sales of "very prime" ₤ 10 million-plus homes in the capital collapsing by 86 per cent over the previous year,' the Guardian reported in October. The paper cited figures from Land Registry which exposed that only five homes were offered for more than ₤ 10 million in the three months to August 2016, compared to 35 such properties in the same quarter the previous year. Outside London, no property sold for more than ₤ 10 million.

As constantly in the property development business, such rate falls have produced brand-new opportunities for designers who are tuned into the mindset of HNW clients, and more significantly are not caught financially with a slate of pricey super-prime projects and advancements on their books. HNW customers aiming to buy 'off-plan' have various concerns-- such as wanting a two-bed lateral flat with sufficient amusing space to host twenty for supper, instead of a six-bedroom ₤ 11.5 million super-home.

The previous couple of years have the development of numerous under-the-radar people who are reinventing the rules of interior style and of what it implies to produce a designer 'brand' today. Leaders include Katharine Pooley and Helen Green Design, which are following in the custom of the fantastic London interior designer brands such as Colefax & Fowler.

What is most striking about such iconic 'designer' brands is that, on the whole, clients came to them since they desired their hallmark appearance. Colefax & Fowler pioneered what is known today as 'nation home design', providing a refreshing blend of contemporary trendy and traditional chintz that removed away the chaotic gloom of Victoriana. However the brand-new breed of designers is moving far from the signature brand name appearance. Instead, their clients desire provenance, originality, artisan-craftsmanship, quirky architectural details. These designer-developers have a philosophy of design that transcends the aesthetic into the practical.

Edo Mapelli Mozzi of Banda is passionate about the phase set of modern cosmopolitan life. For each Banda job, 'designers, artisans and specialists are thoroughly selected to guarantee the homes we produce an appeal to the pertinent market. We aim to go beyond expectations in regards to the quality and service in the properties we provide.'

Banda's acutely comprehensive bespoke work reflects the most profound goals of HNW customers today and society's altering architectural tastes and domestic style. Edo, who was brought up and educated in England, has actually embraced the title of Noël Coward's 1932 play Design for Living for his branding functions. 'At Banda, our homes are constructed for life,'

he states.

With twelve years' experience, Edo and his group utilize their deeply ingrained 'market intelligence' (i.e. relationships with representatives and purchasers' representatives) to source eccentric properties, often with some commercial heritage or architectural provenance. Using a group of 'artisan-craftsmen' and designers, the Banda concept is to only put its name to an advancement that has 'an original identity' and will 'make its own mark'.

The Banda Design Studio is unusual because it uses a genuinely 'full service' experience for HNWs, from interior decoration to architect's designs, through to the dressing of all show houses within developments. The most talked-about decorators of each generation are more than mere designers: they provide up a window into the soul of our times and the Way We Live Now. Some 95 per cent of Banda's work is 'speculative development'; the other 5 percent is a private commission or task work.

Edo has been establishing 'character' homes in locations like Battersea, where he has had noteworthy success transforming an old pastry shop. 'A great deal of our company model has actually been producing prime lateral flats outside the traditional zone 1 location,' he says. He mentions that in locations like Nine Elms most two-bed flats range from 900-1,300 sq ft. Think cooking area dinner for four-six if you squash around the table. 'So you can't amuse.'

His two-bed flats tend to be 2,000-3000sq ft. In one flat he had a 'bedroom that had his-and-hers dressing rooms, a huge restroom with an entertaining space where you might have twenty for dinner or 40 for a drinks party. However it's a two-bedroom flat. Which does not exist on the market.' When Banda took these 'two-bed prime lateral' flats to market, all sold in 24 hours. 'We produced something that is not cookie-cut, is not what everybody else is producing.'

Edo says his client focus has constantly been based upon listening to what 'owner-occupiers' desire, instead of the sales pitch of representatives. 'We know there is a need from these sorts of downsizers, individuals in their early fifties whose kids have matured, have actually left house. They require an extra bed room however they do not need a five-bedroomed house any more. But they still desire the space they had.' Most likewise have a home office space.

Another leading example of the top brand-new type of designer is Andrew Murray, founder of Morpheus London design. I initially fulfilled Andrew in May at the MIPIM exhibition in Cannes, where he had actually welcomed me to an unique lunch party. Andrew is likewise a co-partner (with Simon Davis) of the Rosebery, Britain's a lot of exclusive double-decker personal box bus-- more like a private luxury yacht embellished like a Mayfair club than your usual bus.

I asked him how a designer today can get the balance right in between being a high-end 'brand name' (like the Rosebery) and at the very same time keep being unique and private as a business with personal commission work. The response is that Morpheus is rooted in craftsmen style work. His mom was an interior designer and his dad 'very imaginative', and this is the typical DNA style element to all its tasks. Andrew started as a cabinet-maker and joiner, basically self-taught. 'This has actually been important because I know how things are made, and I know how things need to flow,' he states. 'So, originating from that craftsman background, the company progressed as my direct exposure to luxury home evolved.'

Andrew's occupation started at Canford School in Dorset, which had an outstanding carpentry department. 'I established my business when I was still at school,' he says. 'I embellished a workplace block when I had to do with sixteen and utilized individuals from school, which was rather fun. So it developed from there.'

Clients began asking him advice on all aspects of the style task-- not just the cabinet he was making. 'I realised none had a complete, and they were always at a bit of a loss. So they were having this lovely piece of cabinetry made, however everything else didn't actually match, and the arrangement of service wasn't there. It was very historical. It was very in the traditional. Therefore I saw a chance to offer the sort of end-to-end service.'

Morpheus is now one of the most sought-out style firms in London, with customers all over Europe (thus the stylish however discreet lunch celebration at MIPIM). It wasn't always so glamorous, though: his first huge task was the conversion of a large house in Stockwell in which the dance act KLF utilized to live. 'Then I associated a designer in Mayfair who had a portfolio of 60 homes-- leasings. I was about 25 then, and I took over the development management of their maintenance, archive, refurbishment-- so it led from there.'

The next relocation was to develop his own aesthetic style-- putting the Morpheus imprint on projects without them becoming more about Morpheus than the customer. 'I look quite at the function of space. Our designers do the interior decoration and the stylising, however I do the function, the flow, the purpose. And that was coming through very strongly then, and I think that's what led to success and caused growth.'

What makes Andrew the choice of magnates, UHNWs and City tycoons who desire their houses to stick out but also remain under the radar design brand-wise is his knowledge of who the very finest craftspeople are. 'I can still go onto a site and state, "Actually, make it like that. It's far more business." So Morpheus is a style house, however we are also a lot more than that-- we comprehend industrial realities. If a customer says, "I've got 4 apartments that I want you to design," I'm not even going to take a look at the style till I've understood the industrial business case. And I'm going to go, "Who's going to buy it? Why are they purchasing? What do they want?" And after that that will lead the style.'