Reinventing London: The New Type Of Designersat the Super-Prime
London's modern-day HNWs have various concerns and needs for their homes-- and fresh brand-new designers are stepping up to fulfill the obstacle with ingenious techniques, writes William Cash.
Every decade-- or generation-- London sees a brand-new breed of interior designers or 'developer-designers' who stand apart and speak with an aesthetic voice, whose vision mixes easily with the architectural zeitgeist. While most 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' companies are all now related to as well developed. In other words, they've made lots of loan developing in London's super-prime market, which until just recently was up 40 per cent because 2009.
Nevertheless, following punitive stamp responsibility walkings, London's super-prime market is down 20 per cent. 'Billionaires are avoiding the London luxury property market, with sales of "incredibly prime" ₤ 10 million-plus houses in the capital collapsing by 86 percent over the past year,' the Guardian reported in October. The paper pointed out figures from Land Registry which exposed that just 5 properties were sold for more than ₤ 10 million in the three months to August 2016, compared to 35 such residential or commercial properties in the same quarter the previous year. Outdoors London, no home cost more than ₤ 10 million.
As always in the residential or commercial property advancement company, such price falls have actually created new opportunities for designers who are tuned into the frame of mind of HNW customers, and more notably are not caught economically with a slate of pricey super-prime jobs and advancements on their books. HNW clients wanting to purchase 'off-plan' have different concerns-- such as wanting a two-bed lateral flat with sufficient amusing space to host twenty for supper, rather than a six-bedroom ₤ 11.5 million super-home.
The past few years have the development of a number of under-the-radar people who are reinventing the guidelines of interior style and of what it means to produce a designer 'brand name' today. Leaders include Katharine Pooley and Helen Green Design, which are following in the tradition of the terrific London interior designer brand names such as Colefax & Fowler.
What is most striking about such renowned 'designer' brands is that, on the whole, customers concerned them since they desired their trademark appearance. Colefax & Fowler originated what is known today as 'nation home style', providing a revitalizing mix of contemporary trendy and classic chintz that removed away the cluttered gloom of Victoriana. But the new breed of designers is moving far from the signature brand look. Rather, their customers desire provenance, creativity, artisan-craftsmanship, wacky architectural information. These designer-developers have a philosophy of style that transcends the aesthetic into the utilitarian.
Edo Mapelli Mozzi of Banda is passionate about the stage set of modern cosmopolitan life. For each Banda project, 'designers, artisans and contractors are thoroughly selected to make sure the homes we produce an attract the appropriate market. We aim to exceed expectations in regards to the quality and service in the homes we deliver.'
Banda's acutely detailed bespoke work reflects the most profound aspirations of HNW customers today and society's altering architectural tastes and domestic style. Edo, who was raised and educated in England, has adopted the title of Noël Coward's 1932 play Design for Living for his branding purposes. 'At Banda, our houses are developed for life,'
he says.
With twelve years' experience, Edo and his group utilize their deeply embedded 'market intelligence' (i.e. relationships with representatives and buyers' agents) to source quirky properties, often with some industrial heritage or architectural provenance. Using a team of 'artisan-craftsmen' and designers, the Banda concept is to only put its name to an advancement that has 'an initial identity' and will 'make its own mark'.
The Banda Design Studio is unusual in that it provides a genuinely 'complete' experience for HNWs, from interior design to architect's designs, through to the dressing of all show apartment or condos within advancements. The most talked-about designers of each generation are more than mere designers: they provide 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 personal commission or task work.
Edo has actually been developing 'character' homes in areas like Battersea, where he has had notable success transforming an old bakery. 'A lot of our company design has actually been producing prime lateral flats outside the standard zone 1 location,' he says. He explains that in areas like Nine Elms most two-bed flats vary from 900-1,300 sq ft. Think kitchen 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 'bedroom that had his-and-hers dressing rooms, a huge bathroom with an amusing space where you might have twenty for supper or 40 for a drinks party. However it's a two-bedroom flat. And that 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 states his client focus has always been based upon listening to what 'owner-occupiers' desire, instead of the sales pitch of agents. 'We understand there is a need from these sorts of downsizers, individuals in their early fifties whose children have actually grown up, have left house. They need a spare bedroom however they do not need a five-bedroomed house anymore. However they still want the area they had.' A lot of likewise have a house office space.
Another leading example of the top new breed of designer is Andrew Murray, creator of Morpheus London design. I initially met Andrew in May at the MIPIM exhibition in Cannes, where he had actually invited me to an exclusive lunch party. Andrew is also a co-partner (with Simon Davis) of the Rosebery, Britain's most exclusive double-decker private box bus-- more like a private yacht decorated like a Mayfair club than your usual bus.
I asked him how a designer today can get the balance right in between being a luxury 'brand' (like the Rosebery) and at the very same time keep being distinct and private as a business with personal commission work. The answer is that Morpheus is rooted in craftsmen design work. His mother was an interior designer and his daddy 'very innovative', and this is the common DNA style aspect to all its tasks. Andrew began off as a cabinet-maker and joiner, basically self-taught. 'This has actually been vital since I know how things are made, and I understand how things must stream,' he states. 'So, originating from that artisan background, the business developed as my exposure to high-end residential or commercial property evolved.'
Andrew's vocation started at Canford School in Dorset, which had an excellent carpentry department. 'I set up my organisation when I was still at school,' he states. 'I embellished an office block when I had to do with sixteen and used people from school, which was quite fun. So it developed from there.'
Clients began asking him guidance on all elements of the style project-- 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 kitchen cabinetry made, however everything else didn't actually match, and the provision of service wasn't there. It was extremely historical. It was very in the old-fashioned. And so I saw a chance to supply the sort of end-to-end service.'
Morpheus is now one of the most sought-out style firms in London, with clients all over Europe (for this reason the chic but discreet lunch party at MIPIM). It wasn't always so attractive, though: his first huge project was the conversion of a big house in Stockwell in which the dance act KLF used to live. 'Then I got in with a designer in Mayfair who had a portfolio of 60 houses-- 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 move was to develop his own visual design-- putting the Morpheus imprint on jobs without them becoming more about Morpheus than the client. 'I look quite at the function of area. Our designers do the interior design and the stylising, however I do the function, the circulation, the function. And that was coming through extremely strongly then, and I believe that's what resulted in success and resulted in development.'
What makes Andrew the choice of moguls, UHNWs and City magnates who want their houses to stand apart but likewise remain under the radar design 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 industrial." So Morpheus is a style house, but we are also a lot more than that-- we comprehend commercial realities. If a customer says, "I've got 4 apartments that I desire you to create," I'm not even going to look at the style until I've comprehended the commercial company case. And I'm going to go, "Who's going to buy it? Why are they purchasing? What do they want?" And then that will lead the style.'