Sense of Self
Personalised Interiors
“I have no recipe for how to combine things. But you must be sincere. And if you are, strangely, it will succeed.” — Andrée Putman
A good many people subscribe to interiors magazines so as to keep abreast of what’s fashionable, and to read about “what’s hot and what’s not” in the world of design; whether that be more transient home additions, like fabrics and accessories or more serious investments, such as kitchens and bathrooms, which (outside the realm of super prime property) are articles of design not generally torn out and replaced with every passing trend. When faced with such a constant deluge of glossary imagery, choices might sometimes seem somewhat overwhelming. This is of course why there are interior designers and architects so as to narrow down the options and advise on what’s best suited, dependent on client, budget and context. There is often an assumption when appointing a professional that costs will spiral and go through the roof, but their innate knowledge and expertise will often mean a far more successful and better realised project; and, with trade discounts and use of specialist suppliers the price differential is often negligible, especially when factored against the inherent stress in designing and project managing a renovation, whilst coordinating numerous and requisite trades and suppliers. Regardless of route, and whether an amateur or professional, the key is to ignore trends entirely, as those interiors created so as to be intentionally “fashionable” (not those that are so radical or innovative that they start a trend, e.g. the work of Jean-Michel Frank (1895-1941) or Charlotte Perriand (1903-1999)) tend to be vulgar and rarely stay relevant past the next September issue. The same goes for anything specifically intended as a “feature”, i.e. feature walls, tiles, wallpapers etc (and not such grandiose architectural statements as the Cascade at Chatsworth House, which, in any event, is something very few of us have room to accommodate, especially those in central London), which tend to be garish and can easily ruin an otherwise successful scheme.
Interior, Brussels, designed by Pierre Yovanovitch
Penthouse, New York, designed by Vincent Van Duysen
Elegant interiors transcend time and trends, and are fitted in such a way as to remain a canvas for anything an owner might later collect or accumulate. The idea of elegance is inextricably linked with timelessness and restraint, choosing materials for their innate beauty rather than because they’re “on trend” (letting a material or architectural element shine is of course what eventually led to minimalism, first used in the context of architecture and interiors from the late 1970s to describe those works of an extremely reductive — minimal — appearance). This is something that applies regardless of aesthetic and is as applicable to a regency country house as it is to the fuss free sparsity of a Pawson penthouse and everything in-between. There is of course an important distinction to be made, the great designers are often inherently “fashionable” as they either set, or even buck trends. Axel Vervoordt (b. 1947), Vincent Van Duysen (b. 1962) and Pierre Yovanovitch (b. 1965) are incredibly fashionable amongst the design cognoscenti as they each have such a timeless, recognisable style that has become a universally popular ideal of contemporary modern living. Vervoordt is particularly adept at designing convincingly and authentically across a spectrum of design styles, from his extraordinary Castle 's-Gravenwezel outside Antwerp, where he manages to successfully fuse the philosophies of Japanese design with an old world European sensibility, to a series of slick, super-yachts, which, within the genre, are equally pared back and understated. Similarly a good many lust over Van Duysen’s earthy minimalist kitchens and Yovanovitch’s bear-like chairs and perfectly spherical cushions (the contemporary equivalent of Jean Royère’s whimsical and eternally desirable plush, rotund creations). At the opposite end of the spectrum there are of course those designers who deliberately employ trends and shock value so as to create quirky editorial interiors that attract the most column inches and Instagram likes.
Apartment, Mayfair, London, designed by Rose Uniacke
Of course even the most seasoned of interior designers have at some point in their career questioned their own taste, intentions and whether or not they have made the right choices. Perhaps some are born with inherent and perfect good taste, but with most designers (at least looking at their early work) it’s something developed and honed over time, as is only to be expected. This is something the amateur decorator should keep in mind when furnishing an interior without the assistance of a professional. Pouring over books, design journals and magazines is, of course, only to be encouraged (very few of us are lucky enough to see these haute interiors first hand), but it should be with a mind to developing individual taste and not merely so as to attain a poor approximation of a published interior. The majority of kitchen cabinetry seen in the pages of AD and Elle Decor for e.g. will often be bespoke, and the figures involved eye watering. It’s extremely unlikely a high street manufacturer, whatever they may tell you, will be able to produce anything nearing the same finish; the devil, as they say, is in the detail, and it’s often those small, costly details that make a project so appealing (this is especially so with contemporary designs, traditional — on the whole — being much easier to replicate) and those details often require specialist and expert suppliers and makers.
If decorating an interior and a particular image appeals, the key thing on which to focus (rather than setting out to create an exact replica) is mood, atmosphere and the palette of materials that have been used so as to achieve it, e.g. fabrics, finishes and wall colours etc. It is however incredibly unwise to set out with any specific aesthetic requirement — the use of a particular marble for a work surface — set in stone (no pun intended) as it can be the easiest way to scupper a more modest budget. Instead, visit different manufacturers and see what, within budget, they can do best. There is nothing worse in an interior than trying to fake it; it’s better to have a cheaper alternative executed to perfection, than a poor, sloppy approximation of something outside budget. As an extreme example Andrée Putman’s virtuoso use of black and white caustic tiles at the Morgan Hotel would always be preferable to (although an extreme example) similarly priced tacky faux marble ceramic.
An interior should reflect an owners personality and not what may or may not been in vogue. Thanks to Instagram, interior design is now more accessible than at any point in history, and with 800 million active users and 95 million photos and videos shared each day, it’s affecting our visual perception like no other platform. As a result, people are now as worried about being judged for their interiors as they are for their fashion choices; much like the “It bag” we’re increasingly seeing “it” furnishings, e.g. Jeanneret (1896-1967) chairs, Perriand stools and lighting by Serge Mouille (1922-1999). Although wonderful designs — and classics for a reason — they’re often seen in every other published interior. Instead of coveting these increasingly unattainable (both in terms of availability and price tag) design classics, try dealers like Dorian Caffot de Fawes, Foster & Gane and Gallery B.R for unique and original pieces that are equally interesting, without the risk of over-saturation. Gwen Pilard of Quindry has a particular talent for sourcing wonderfully unusual pieces of furniture and objet d’art and has no desire to chase named designers. “Although I’m not averse to the occasional named piece, I like interiors that show individuality by juxtaposing original art with handmade crafts and furniture that cannot be placed,” Gwen says of her approach, “It’s all about the intrinsic quality of each piece in terms of design and aesthetics, rather than the reassuring aura associated with recognisable names.”
Interior, Ibiza, designed by Axel Vervoordt
Of even greater use, such dealers will be happy to source specific items for a client or to notify them of any new items that might be of interest. Visiting dealers and galleries can also be an excellent way to hone and develop taste, seeing how varying styles and periods can often, unexpectedly, work together in unified harmony. Rose Uniacke has done wonders for the popularity of Art Nouveau lighting which — until she paired it with mid-century classics and Art Deco ceramics — seemed somewhat fussy and entirely unsuited to contemporary interiors. This is also preferable to buying mass produced items which will rarely keep their value and are often appalling quality. In these times of shocking wastefulness there is also of course an ecological benefit to investing in quality antiques.
Whilst imitation is said to be the sincerest form of flattery, people should buy what they like, and what speaks to them, rather than panicking over whether X, Y or Z designer would use an item (whatever that may be) in a project, and whether friends are likely to judge them for an ill-chosen wall sconce or gaudy scatter cushion. In the words of auctioneer and collector Simon de Pury: “Be bold! Be Brave! Be Amazing!” Or at least follow and develop your own sense of style rather than relying purely on Pinterest mood boards and glossy images of professionally styled and photographed interiors (which often, in any event, don’t look anywhere near as impressive outside the pages of a magazine). Buy what you like, buy less and above all, buy better, as rushing an interior for the sake of having the whole thing finished is sure to result in ill-judged, often costly, mistakes. This is particularly key in terms of those areas less easy to change, such as kitchens and bathrooms where planning and practicality are key; if in doubt play it safe as interiors bordering on the traditional can easily be given edge with art and accessories. To paraphrase a doyenne of the New Social Scene upon a guest commenting on the modernity of her interiors: most of the furnishings are antique and even the modern works of art are of an age that they’re verging on old masters. It’s often individuality and personal flair that make an interior interesting, and as any interior designer will tell you, for a great interior, you need a great client; the most successfully realised of interiors are a symbiosis of client and designer, with both contributing to the overall scheme and effect. Trust your gut, don’t dwell on what’s fashionable and instead focus on creating unique, personal interiors that are a reflection of individual taste, lifestyle and interests.