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

London's modern-day HNWs have different concerns and requirements for their houses-- and fresh new designers are stepping up to satisfy the obstacle with innovative methods, composes William Cash.

Every years-- or generation-- London sees a new type of interior designers or 'developer-designers' who stand out and speak with an aesthetic voice, whose vision mixes easily with the architectural zeitgeist. While a lot of HNWs have become aware of Candy & Candy (or a minimum of their Monaco superyacht), Finchatton, or a bespoke firm like Fenton Whelan, these 'designer brand name' companies are all now considered well established. Simply put, they've made lots of cash establishing in London's super-prime market, which till recently was up 40 per cent considering that 2009.

However, following punitive stamp responsibility hikes, London's super-prime market is down 20 percent. 'Billionaires are avoiding the London luxury property market, with sales of "very prime" ₤ 10 million-plus houses in the capital collapsing by 86 per cent over the past year,' the Guardian reported in October. The paper cited figures from Land Registry which revealed that just five residential or commercial properties were cost more than ₤ 10 million in the three months to August 2016, compared to 35 mirrored bedside such homes in the exact same quarter the previous year. Outdoors London, no home offered for more than ₤ 10 million.

As always in the property development organisation, such cost falls have created new opportunities for designers who are tuned into the mindset of HNW customers, and more notably are not caught financially with a slate of pricey super-prime tasks and developments on their books. HNW clients seeking to purchase 'off-plan' have various concerns-- such as wanting a two-bed lateral flat with sufficient entertaining space to host twenty for dinner, instead of a six-bedroom ₤ 11.5 million super-home.

The past few years have the introduction of a number of under-the-radar individuals who are reinventing the rules of interior decoration and of what it implies to create a designer 'brand name' today. Leaders include Katharine Pooley and Helen Green Design, which are following in the tradition of the excellent London interior designer brands such as Colefax & Fowler.

What is most striking about such renowned 'designer' brand names is that, on the whole, customers came to them because they desired their trademark look. Colefax & Fowler pioneered what is understood today as 'nation house style', providing a revitalizing blend of contemporary chic and timeless chintz that stripped away the messy gloom of Victoriana. But the brand-new breed of designers is moving away from the signature brand name look. Rather, their customers desire provenance, creativity, artisan-craftsmanship, wacky architectural information. These designer-developers have an approach of style that transcends the aesthetic into the utilitarian.

Edo Mapelli Mozzi of Banda is enthusiastic about the phase set of modern city life. For each Banda project, 'designers, artisans and specialists are carefully selected to ensure the houses we produce an appeal to the pertinent market. We aim to surpass expectations in regards to the quality and service in the residential or commercial properties we provide.'

Banda's acutely detailed bespoke work shows the most extensive goals of HNW customers today and society's altering architectural tastes and domestic design. Edo, who was raised and educated in England, has actually embraced the title of Noël Coward's 1932 play Design for Living for his branding purposes. 'At Banda, our houses are developed for life,'

he states.

With twelve years' experience, Edo and his team utilize their deeply embedded 'market intelligence' (i.e. relationships with agents and buyers' representatives) to source quirky residential or commercial properties, often with some industrial heritage or architectural provenance. Utilizing a team of 'artisan-craftsmen' and designers, the Banda principle is to just put its name to a development that has 'an original identity' and will 'make its own mark'.

The Banda Design Studio is uncommon in that it offers a genuinely 'complete service' experience for HNWs, from interior decoration to architect's designs, through to the dressing of all reveal apartment or condos within advancements. 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 advancement'; the other 5 percent is a private commission or project work.

Edo has been establishing 'character' homes in areas like Battersea, where he has actually had notable success transforming an old bakeshop. 'A great deal of our service model has actually been producing prime lateral flats outside the conventional zone 1 location,' he says. He points out that in areas like Nine Elms most two-bed flats vary from 900-1,300 sq ft. Think cooking area supper for four-six if you squash around the table. 'So you can't captivate.'

His two-bed flats tend to be 2,000-3000sq ft. In one flat he had a 'master bed room that had his-and-hers dressing spaces, a big restroom with an entertaining space where you might have twenty for supper or 40 for a drinks celebration. But it's a two-bedroom flat. Which doesn't 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 customer focus has actually always been based upon listening to what 'owner-occupiers' want, instead of the sales pitch of agents. 'We understand there is a demand from these sorts of downsizers, people in their early fifties whose kids have actually matured, have actually left house. They require a spare bed room but they do not require a five-bedroomed home any more. However they still want the space they had.' Many likewise have a house workplace space.

Another leading example of the top new breed of designer is Andrew Murray, founder of Morpheus London style. I first met Andrew in May at the MIPIM exhibition in Cannes, where he had invited me to an exclusive lunch party. Andrew is likewise a co-partner (with Simon Davis) of the Rosebery, Britain's the majority of special double-decker personal box bus-- more like a private yacht embellished like a Mayfair club than your typical bus.

I asked him how a designer today can get the balance right in between being a luxury 'brand name' (like the Rosebery) and at the very same time keep being special and specific as a company with personal commission work. The answer is that Morpheus is rooted in craftsmen style work. His mom was an interior designer and his daddy 'really innovative', and this is the common DNA style element to all its tasks. Andrew started as a cabinet-maker and joiner, practically self-taught. 'This has actually been indispensable due to the fact that I understand how things are made, and I know how things need to flow,' he states. 'So, originating from that artisan background, the business evolved as my direct exposure to high-end property progressed.'

Andrew's vocation started at Canford School in Dorset, which had an outstanding woodworking department. 'I established my business when I was still at school,' he states. 'I embellished an office block when I was about sixteen and employed people from school, which was rather fun. So it developed from there.'

Customers began asking him recommendations on all elements of the design task-- not simply the cabinet he was making. 'I understood none had a complete, and they were always at a bit of a loss. So they were having this beautiful piece of cabinetry made, however whatever else didn't truly match, and the arrangement of service wasn't there. It was really historical. It was extremely in the traditional. Therefore I saw an opportunity to offer the sort of end-to-end service.'

Morpheus is now one of the most sought-out design companies in London, with clients all over Europe (for this reason the stylish however discreet lunch celebration at MIPIM). It wasn't always so glamorous, though: his very first big task was the conversion of a large home in Stockwell in which the dance act KLF used to live. 'Then I insinuated a designer in Mayfair who had a portfolio of 60 apartments-- rentals. I was about 25 then, and I took over the advancement management of their maintenance, archive, repair-- so it led from there.'

The next relocation was to establish his own visual design-- putting the Morpheus imprint on projects without them becoming more about Morpheus than the customer. 'I look extremely much at the function of space. Our designers do the interior style and the stylising, however I do the function, the circulation, the purpose. And that was coming through extremely strongly then, and I think that's what caused success and resulted in development.'

What makes Andrew the choice of moguls, UHNWs and City tycoons who desire their homes to stand apart however also stay under the radar style brand-wise is his knowledge of who the absolute best craftspeople are. 'I can still go onto a site and state, "Actually, make it like that. It's much more business." So Morpheus is a style home, but we are likewise so much more than that-- we understand commercial truths. If a customer says, "I've got 4 apartment or condos that I desire you to develop," I'm not even going to look at the style until I've comprehended the industrial service case. And I'm going to go, "Who's going to purchase it? Why are they purchasing? What do they desire?" And then that will lead the design.'