Decorex And The Power Of The Pop-Up

[00:00:00] Speaker A: Hello and welcome to the interior design business. My name is Geoff Hayward and I'm here with my co host, Susie Rumbold, past president of the British Institute of Interior Design and creative Director of Tasuto Interiors and past president of the British Institute of Interior Design, to talk pop ups and decorates in the lovely and comfortable surroundings of the Sofas and Stuff showroom on the Kings Road in Chelsea. [00:00:24] Speaker B: As designers, we ignore the power of the pop up at our peril. Or what better way to showcase our skills to a wide audience than through a here today, gone tomorrow tour de force. The colossal success of events like Wowhouse demonstrate the way the pop up has evolved from simple trade show stands to sophisticated, targeted and effective marketing tools. But how do these small design miracles occur? Are they worth the time and expense that goes into them? And have we reached the pinnacle of the pop up? Or is there still more that can be achieved? Welcome to the interior design business. [00:01:06] Speaker A: So, to talk pop ups, we are joined by two designers who are both creating temporary installations for DecorX 2025. Tolu Adiku from Adiko & Co. And Lucy Mayers from Sybil Colfax and John Fowler. Welcome to the show. [00:01:23] Speaker C: Hi. [00:01:23] Speaker D: Thank you for having us. [00:01:24] Speaker B: Before we begin, could each of you just give us a brief introduction to yourself and your businesses? Tolu, would you like to go first? [00:01:31] Speaker C: Thank you. I'm Tolu Adiko. I run a studio called Adiko and Company. We're based in North Grec in South London, but work internationally on hospitality projects mostly. We do a lot of food and beverage design and once in a while, when it's not too painful, we do residential designing. [00:01:52] Speaker B: And Lucy. [00:01:53] Speaker D: So I'm with Sybil Colfax and John Fowler, who you probably have heard of and I have been with them for 13 years, working under Emma Burns and slowly taking on a few projects myself and have just come back from maternity leave and this is my first post maternity leave project. Congratulations. [00:02:18] Speaker A: So in your view, what does make a really good pop up in today's market? [00:02:24] Speaker D: I think it's about doing something that is as transformative as possible. So I think storytelling is key. I think you want that sort of immersive moment. You go in, everything's different, it's memorable, it's maybe something you haven't seen before. [00:02:45] Speaker B: So the down the rabbit hole type? Yes, exactly. [00:02:47] Speaker D: A bit of whimsy, a lot of fun. Nothing that takes itself too seriously, I'd say. Personally, I would add color and a bit of joy. [00:02:57] Speaker C: Yeah, yeah, joy. [00:02:58] Speaker A: Good. And same for you, Tyler. [00:03:00] Speaker C: Yeah, I Think, you know, every project should be exciting and every project should have that element of storytelling and that's the approach the studio takes. I guess with pop ups, I see it more as an art form and an opportunity to be able to create something that you would have imagined. But, you know, whether the client or your normal kind of day to day wouldn't just allow you to do often, as interior designers, it's our responsibility to firstly make sure that spaces are functional. Spaces are too brief and rarely do we get the opportunity sometimes just to overly imagine and just to just overly dream. And pop ups and exhibitions are a great way to demonstrate your artistic form and demonstrate how you can create spaces that are not only imaginative, but that kind of play with the different senses. [00:03:56] Speaker D: So what would you say then are. [00:03:58] Speaker B: The kind of key design elements that allow you to transform a temporary space into something that's really memorable? [00:04:05] Speaker C: I would say firstly, it's about starting with the location. Looking at the history of the location is always a great clue. On thinking of how can you either bring back something from the past into the present, or you can take something from the present into the future. In addition to that, looking at how do you play with the sense of touch, the sense of scent, what you smell, playing with other senses, what you're hearing, I think all of this starts to allow you to create a space that's really unique and starts to point towards a narrative. For decorex this year, we're working on the VIP lounge, which is quite an enormous space. And we've, we've tried our very best to, you know, split the space into smaller rooms to give guests an experience where they can, they can almost add this idea of exploring the different rooms and using all of those elements of touch, using lighting, using sound, we are creating something that would hopefully make people feel very uplifted and inspired. [00:05:18] Speaker B: So it's truly immersive. By the sound of Nice and Lucy. [00:05:23] Speaker D: Yeah, as you say, starting with location. So we were dealing with the practicality of a enormous space, so 13 by 19 meters in the very center. [00:05:34] Speaker B: So just to be clear, so you're. [00:05:35] Speaker D: Doing the VIP lounge and I'm doing the main bar. [00:05:38] Speaker B: Ah, right, got it. [00:05:40] Speaker D: And you have these enormous, enormous ceiling heights to deal with. So I started with the kind of focusing on how on earth, because to me, bars are intimate spaces that you sort of feel held in, how you could bring that space in. And I went for dinner once in a warehouse near Greenwich, actually an artist's studio, and he had set up his living room within a parachute and dining room. And it was a beautiful old military parachute. [00:06:20] Speaker A: Enormous. [00:06:21] Speaker D: And lit the whole thing inside. And it was. It was brilliant. It was so good. And so I wanted to do that, but the parachutes weren't quite big enough. And so we are doing a big silk tinted ceiling that also hopefully allows everybody to orientate themselves within the space and gives a sort of meeting point that sort of floats above the stands, but also hopefully diffuses the light as well, because it's that shade of pink that one used to line lampshades with boudoirs to give yourself an attractive pace. So there's sort of. Yeah, that to kind of enclose. And then we went down the narrative of that liminal indoor outdoor as well, because you do have this huge glass ceiling. It's slightly like being in a orangery. So we went down the idea of doing a garden, but an autumnal garden with all of those richer, darker colors, smells, and. I'll have to get a candle now. [00:07:39] Speaker C: Yeah. [00:07:40] Speaker A: So it's a sensory experience, too, is. [00:07:43] Speaker D: It a sensory experience? I mean, everything is a sensory experience. Of course, we aren't splitting the space into smaller areas. You've put the bar in the middle so that people can orientate themselves around it because we're seating 90 people. Something like that. [00:08:01] Speaker A: I asked Tolu to dive a bit deeper into what you're doing. What can you reveal? I appreciate we're some way off, but what can you tease us with that people will expect? [00:08:10] Speaker C: Okay, so our VIP lounge is named Palomino. And we, for us, you know, everything is about trying to really imagine. And when we started the project, we just didn't know what to start off with. So we looked at Olympia, which is where decorex has been at. We looked at the various different events that took place, and we landed on two things, and it started to just inspire the people in the studio. So we started with the first show, which was called the Palace Hippodrome. And this was like a Olympic slash kind of event where there were, you know. You know, there were like loads of people with horses. And later on, there was a man called Bertram Miles, and he reinvented, you know, he converted the Olympia into, like this circus destination. And this destination was like, not just normal circus kind of event, but it was really elaborate, really kind of ornate. And in fact, members of the royal family used to attend it. And we've actually looked at archives and seen members of the royal family. And this just started to. We just automatically started to join these two together and think, okay, well, you Know what if, you know, we looked at, you know, where, you know, Paris Drone and that, and looked at, you know, the circus element of Alberto Miles in a kind of evolved the circuitry. So from that we started to put together elements on those two periods of time, those architectural features to start to kind of, you know, to kind of inform what would be the circuit, what would be the kind of cornices, what would be all the architectural elements. And for us it's really important when creating a temporary space to give this make believe that it's always existed. You know, you can't necessarily create it. And everybody knows, okay, it's just a pop up. You almost need to walk into. Oh my gosh, this has been there for a really long time. Even though of course that's not the case. And you know, we've then collaborated with a range of amazing suppliers. So we're working with artisans in Glasgow, artisans in Milan, artisans in Paris and some artisans in London. So to the facade, you'd expect to see this amazing mural hand painted by a gentleman called Will Fuster. And he's got a studio called Will Fuster Studios. And you know, I work with him a lot on, you know, you know, when I'm doing a scheme, I would often say, you know, we need a paint color. The paint color hasn't existed yet. Just let's create one or you know what we're looking at this particular area and we just. When it needs to be special, these are the palates and let's create something. So Will's really good for that. And the name Palomina actually comes because the type of shade of horse. Of horse is that horse is the shade of the horse is the shade of the colors that we're using. All furnaces. [00:11:33] Speaker D: I love this. [00:11:34] Speaker B: I love it too. [00:11:35] Speaker C: Storytelling and that's it. But in terms of like what you can expect as your original question, you know, you know, you walk in, you have a very circular, a circular central point and that's paying homage to the kind of circus theme. You have a great kind of installation, lighting structure in the center. And then you've got these smaller rooms which would be lounges and spaces to eat or to drink or to meet and. Yeah, on. Yeah. But what's really interesting is that every room is in collaboration with a different company. So we're working with Pierre Ferre, Deida Liliev and you know, cassaments and gosh, a range of others for fabrics. And we're working with a range of talented artisans to make furniture. So it's been A lot of layering of things to create the space. So just expect to be wild, expect to be, you know, to be transformed into something totally unexpected. [00:12:38] Speaker A: Sounds fantastic. [00:12:39] Speaker C: And then we're working with Jo Malone and we've created a mixture of senses, especially for the space. And you could expect just the room to be centered and 24 sewing. [00:12:53] Speaker D: Wonderful, incredible. [00:12:54] Speaker B: So, Lucy, can you describe your vision for the champagne bar and maybe talk to us about some of the people that have helped and contributed to it. [00:13:02] Speaker D: So, yes, as we've discussed, the idea originally came through this sort of autumnal garden, the liminal space. The idea of a tented space being somewhere that, you know, one holds fetes and festivals and you can have a party. I actually went instead of the. This has always been there to. This is here for four days. But it's transformative. [00:13:36] Speaker C: So. [00:13:39] Speaker D: We'Ve been helped a lot by furniture makers in Edinburgh. Clockhouse furniture. Wonderful. Using a lot of the suppliers who work, who have stands at Decorex, So Matthew Bray and Matthew Collins, who we work with all of the time, who are skilled, specialist painters and just, I mean, brilliant, brilliant artisans. They also have a joinery department which is lesser known and fabulous. And they are helping me with the screens that we are making for the corners of each of the tent. Each corner of the tent, rather than which originally I had wanted to be sort of mashrabia screens to kind of help enclose the space. Budgetary issues are always, always a consideration in something like this. And apparently laser cutting Ashrabiya is a cost that no one stretched to, which is fair enough. So we're using our own fabrics to line panels. I just wanted to bring the outside in and make this sort of garden. [00:14:55] Speaker B: So it sounds as though they're going to be two quite diverse experiences for people visiting the show. I'm so excited, really. [00:15:02] Speaker A: And it fascinates me when you talk about budgets because I imagine the amount of creativity time as well as budget that goes into these kind of pop ups is quite staggering. Am I right? And if so, are these the biggest challenges you face or are there others that I'm not even thinking about? [00:15:19] Speaker C: It's interesting to be fair. It's been quite good with decoriks this year. We've, I think, provide a good amount of time to. To come up with a concept. We've, you know, previously done warehouse. Last year. Last year, yeah. And that was altogether 12 weeks from absolutely starting to end. [00:15:40] Speaker D: That's why they call it warehouse. [00:15:41] Speaker E: Yeah, yeah. [00:15:42] Speaker C: And that included everything bespoke. So like for. From Bespoke flooring, to bespoke rugs, to every single piece of furniture being bespoke. So we really rely on our connections. I worked in the industry for almost two decades now, and I don't look it, which is really good. And if I say so myself, sorry. But what that does is that really allows us to really work with people who. They know my standards, they know what I'm expecting, and we are just constantly working on the project. Now with this at Dex, we've had, you know, we've had like, I think from January this year and to kind of work on it, which has been, you know, quite good. The problem, actually, is when you've got longer time, there's so much more deliberation that you're. You're doing. It's like, you know, do we choose this level? Do we choose this lever? And they're both exactly the same color. So that's some of the problems that you do get with having more time. Whereas sometimes when you just add, like, a very short amount of time, you've just got to really trust your instinct. And, you know, what's really interesting, actually, is that with. With these type of projects, we don't do CGIs in them. We literally only do, you know, watercolor or hand sketches in black and white. And everything else is just the imagination of what would it be? Because it really reminds me of the art form, of what interior design was before, you know, we started to have such amazing tools like, you know, AI to be able to create things, you know, and yet. [00:17:21] Speaker D: That's amazing. And we started in March, and yeah, it is. It's a lovely lead in. It's definitely. It's definitely enough time. It's. For me, I would say the biggest challenge has probably been budget and also kind of the ethics of spending a huge amount of money on something that you're going to pull apart in four days. So. Interesting is a good point. [00:17:56] Speaker C: Yeah. [00:17:56] Speaker D: Well, so we could have pushed to have marble tops, for example, but I hate the idea of that being just thrown away at the end once it's broken down. So we've tried to try to think of ways that everything that we're putting in can then be reused again and try and make it sort of as sustainable as possible so that we can justify the cost of it all, but so that we can also justify doing it, you know, and that it's not wasteful. [00:18:32] Speaker A: Has that been something for you as well, Tolly? [00:18:34] Speaker C: Yes, I think that sustainability, to be fair, it's in all of our projects. And with this particular project, the way we typically work is I always try to get the team to think of where things will go after and how can we produce things where when it's taken, when it's been restored, has been taken off, it doesn't cause damage. So all of our lining, for example, they're all actually made from panels which are velcro backed and they just literally stuck onto the wall without no edges, adhesive and they're poured back down to be used for anything else in the future. When it comes to fabrics, you know, we often would reuse the fabrics to do something else or you know, if we need to. Well, at some, sometimes we do donate some of the things we use to another cause. So I definitely agree that everything should be sustainable. But I guess our approach is that, you know, we still want the amazing look, but at the same time it's like where do you fight it? And budget is always a thing. So a great approach is like for example, we love marbling, you know, we love marble. But obviously, you know, having, you know, architraves covered in marble for a four day event is absolutely on the list. But this is where we use artisans again and they, you know, is actually. [00:19:59] Speaker B: Create the effect without the price tag. And how many people from your teams have been involved? Lucy, is it just you? Have you been running this by yourself or. [00:20:10] Speaker D: Myself and Allegra over there has been helping me. Yeah. Great. [00:20:14] Speaker C: It's mostly been a lot. Well, there's been roughly five people in the studio that's kind of started off working in the projects. But we start off like that. Every project we start off with a kind of majority of us to start off with the initial push of the concept and solidify that. And then it's been myself and miss Stella. If you're listening, Stella shout out to you. And yet who's an amazing assistant. And she's just been really dedicated and just, you know, she actually studied psychology, she didn't study inter and she's so amazing. So. Yeah. [00:20:50] Speaker B: So what is it you think that designer. The designers. Cause you have a designer audience, you know, you're preaching to your own tribe. What are they going to be most excited about? To see what you've created or when they see what you've created. [00:21:05] Speaker A: What's the psychologist saying about the impact that she wants? [00:21:09] Speaker C: What we try to do always is just to create a sense of environments where it functions quite well on multi layers. So we, we worked with a lighting conservative DPA lighting and most of our projects kind of work on a kind of tunable lighting system. So in the daytime, if the lighting is quite, is a bit brighter and the, the kelvins are a bit higher and as we're getting to the evening of the VIP lounge and it's more relaxing but also, you know, if you do make it to the VIP party, should you be invited, enjoy it being a wonderful space to kind of, you know, to kind of chill out and party. [00:21:54] Speaker D: Excellent. [00:21:55] Speaker A: And obviously a bar is a place to drink. [00:21:57] Speaker B: So and, and a meeting place too. [00:21:59] Speaker D: Yeah. [00:21:59] Speaker B: And as you said, I think you, the fact that it'll be visible. So it's going to be because of the tenting, it will be visible from all over. [00:22:06] Speaker D: Yeah, well, because it's. Because it's in the very center of the stands. We had slightly difficult limitations to work with, which is that we're not allowed to block any sight lines so we can't have walls and so hence the screens and the corners. So there are no architraves. [00:22:28] Speaker A: There are. [00:22:28] Speaker D: So it's not really like, you know, the joy of doing something like warehouse where you have a stand and you have the four walls and it's much more like doing a room. This has been very much how to make a outside space feel enclosed and inviting and somewhere you want to have a drink. [00:22:50] Speaker A: I mean, I'm excited to see both of these pop ups and what you've created. I think many designers listening and watching will think all sounds amazing, but does it really justify in terms of the long term value you getting involved in the first place? I mean, how do you measure? How do you measure? What are you looking for? What's the impact long term that you're looking for. [00:23:13] Speaker D: I don't know if anyone's ever been able to kind of quantify whether or not from footfall and from the press that these things create, whether or not they're worthwhile doing. I would say they're worthwhile doing because from a design perspective, it's a really radically different way of working to how I normally work. So it's been a wonderful exercise size and why not? Yeah, why not test yourself? Why not do something different? Why not do something fun? And we, we specialize in residential, high end residential. So this is, we don't do this sort of thing. [00:23:51] Speaker A: Send a few comforts. [00:23:52] Speaker D: Yeah, completely. Yeah. That's my motivation. [00:23:57] Speaker A: Okay. What motivates you to. [00:24:00] Speaker C: Well, I think you can never really quantify, you know, the impacts that such displays and exhibitions, what you get back. But my thinking is always that, you know, number one, it's Always good to do something slightly, a bit off grid, you know, something that would not only challenge, you know, your way of working, but also allow you to be creative again. I think if we don't watch it, we can be designers that, you know, if you've got a particular type of clientele known for doing that same thing and go along that pattern. And I think, you know, Deco X and other stand designs are great ways of actually, you know, just kind of doing something off grid, doing something that you, you've always kind of thought about but you just haven't been able to implement because, you know, whether it's the budget, there is a budget restriction here as well, but whether it's like, to do with like, you know, the taste of a particular client. So it's really good for that. And more importantly, I think, you know, you know, when it comes to, you know, kind of awareness, I guess, you know, and, you know, just people being aware of the creativity of your studio, it's a wonderful way to display the creativity of your studio because a lot of people do say storytelling and a lot of people do say they are creative, but one beg to differ. So actually being, you know, able to experience it, see it and to say the truth is in the pudding and actually taste it, I think that's wonderful. [00:25:34] Speaker B: So it sounds as though it's a really liberating thing to be able to do something that's, that's ephemeral in a way. [00:25:41] Speaker C: Yes. It's incredibly liberating. It's wonderful to be able to research something, find an art form of inspiration and just put this kind of mismatch of things that doesn't, it doesn't go, but that's why it does go. And I just, I love that approach to design. [00:25:57] Speaker D: And yeah, part of me always wanted to be a set designer. [00:26:00] Speaker F: Yes. [00:26:00] Speaker D: And some of the best designers that ever existed were set designers. So it's, it's the chance to flex those muscles. [00:26:08] Speaker B: Yeah. [00:26:08] Speaker D: Amazing. Amazing. Do you think we've reached the limits. [00:26:12] Speaker B: Of pop up design or is there still more untapped potential? [00:26:17] Speaker D: I think it's growing and growing. I think, you know, you look at Wowhouse, you look at Kips Bay, every single year they get better. And people, you know, we're competitive. We are. And it's raising the bar. It's raising the bar over and over again. And yeah, as the bar is raised, more money is put in, the possibilities grow and I think, yeah, sky is the limit. Sky's the limit. Excellent. [00:26:46] Speaker A: Okay, so Tolly, what lessons have you Learned from. [00:26:51] Speaker C: I guess from the previous display that we did last year. We really just, we. What I learned the most was how to really make something quite. Feel quite permanent, but really be installed really quickly and taken off really, really quickly. And I guess, you know, that's all to do with like planning and logistics and how to make something work very, very quickly. And that's what we kind of bought into the display at Decor X though. It will look amazing and you will kind of have all of these sensory elements met. But, you know, we designed it in a way where it's quite modular in a sense. And, you know, you don't design the permanent spaces very modular. You designed them to be. To be there. Unless the briefest for it to be modular. [00:27:46] Speaker D: Although it's a tiny front door. [00:27:47] Speaker C: Yeah. So I. I think that's been a really great lesson that we've learned and how to design, you know, how to make sure things are prepared and designed and built before the stand build date is. And everything has just been installed a quickly and just get moving. [00:28:07] Speaker A: I'm looking forward to seeing you at the show to make sure that everything went to plan. [00:28:11] Speaker C: See, actually, no, I'm gonna do this. You know, that's. That's the strange thing. I. I get there on maybe like three days in, but I'm not there for the stress because I don't want ahib. That's a sure thing. So obviously a project manager who would be there. [00:28:27] Speaker D: You're going on holiday that week. [00:28:31] Speaker C: When that was like last year, I was actually, you know, you know, unfortunately I had a holiday already planned and I think this year actually we've got, you know, I've got two, you know, young kids and half turn falls around about that time. So. [00:28:44] Speaker A: Okay, what thought of that? I'll see you at the end of the show to find out whether it works or not. And what about you, Lucy? Big lessons to book holiday during the show. [00:28:57] Speaker C: Yeah. [00:28:57] Speaker D: Suddenly think about childcare. Oh, gosh. [00:29:01] Speaker C: Yeah. [00:29:01] Speaker D: I hadn't thought about half term. Never mind. I mean, I get off on logistics and that's a lot of the fun for me. And I'm in complete control freak. So the idea that I won't be there cleaning things. Preposterous. [00:29:21] Speaker A: Knowing looks to the audience. [00:29:23] Speaker D: Exactly. Is. Yeah. So it will be some long hours, but I really enjoy that part of it. Yeah. [00:29:30] Speaker B: Just that. Making it happen. [00:29:32] Speaker D: Yeah. I think what's going to be interesting is it's very strange talking about something that isn't in and saying, oh, yes, this is my favorite bit. I've got absolutely no idea. That might not work at all. I might need to change it completely or fiddle with it or then actually, my favorite thing might be something that we sort of. Yeah, exactly. And that's always the joy of it as well, is the bits that you suddenly go, oh, oh, that really worked. I'm really happy with that. [00:30:04] Speaker A: And then quieter parts. Yeah, yeah. [00:30:09] Speaker D: Yeah. The planting, who knows? Yeah, I was looking forward to it. [00:30:13] Speaker B: Good. So, thank you. That was just amazing. I am desperate to see both these installations. I can't tell you how excited I am. It's been so wonderful to have you talking about it. [00:30:21] Speaker A: Me too. Thanks so much for joining us today. Look forward to seeing you at the end of the show and at the start of the show. [00:30:27] Speaker F: See you at the show. [00:30:28] Speaker B: See you at the party. [00:30:30] Speaker A: Wonderful. Thank you. So, before we continue, we would like to do a quick shout out to Naturalmat, the organic bed and mattress company based on the banks of the River X in Devon. If you're designing a space where wellness and sustainability matter, then this is a name to know. That's right, Susie, isn't it? [00:30:47] Speaker G: Yeah, absolutely. [00:30:48] Speaker B: Their beds and mattresses are handcrafted using natural organic materials. No synthetics, no glues and zero harmful chemicals. Plus their organic wool fibres make them naturally thyroidant, so there's no need for chemical sprays. [00:31:01] Speaker A: And they're also the first B Corp certified bed company in the uk. Solar powered workshop, Plastic free packaging and a brilliant bed and Mattress for Life initiative. Refurbish, recycle or donate. So nothing ends up in landfill. [00:31:14] Speaker B: And their showrooms are total design inspiration. Each one features a sleep zone with dim lighting, calming scents and even a bird song soundtrack recorded in the nature reserve by the Devon workshop. So it's a sensory experience you and your clients will find inspirational. [00:31:30] Speaker A: So, Natural Mat, where sustainability meets Sleep Beautifully. You can learn [email protected] or visit them in London, Knutsford, Devon or in the Cotswolds. They're also going to be at Decorex at London Olympia. Which brings us neatly on to our next subject. Susan? [00:31:49] Speaker B: Yes, it does. Many trade shows have come and gone over the years, but the perennial decoract somehow manages to come up fresh and smiling year after year after year. But what are the ingredients in their winning formula? How do they manage to stay relevant when the industry they serve is in such a state of constant flux? How is a show like Decorex curated? And in the end, is it the loyalty of the exhibitors, the enthusiasm of the audience or the organization? Itself, itself, that makes the difference. We're joined now by Sam Fisher of decorix, Debbie Pocock of Quest, and Ricky, Partner from Foot Sofas and stuff to find out. [00:32:25] Speaker A: So before we begin, can you all briefly introduce yourselves? Sam, do you want to go first? [00:32:30] Speaker C: Sure. [00:32:31] Speaker F: I'm Sam Fisher, the event director of Decorx. I've worked in sort of interiors exhibitions for 22 years, but Decorx, I think, since we bought it probably 17 years ago on time. [00:32:43] Speaker A: And Debbie. [00:32:45] Speaker G: Yeah, my name's Debbie Pocock. I am the CEO of Quest, which is the Queen Elizabeth Scholarship Trust, and it's a charity that supports training and education of craftspeople. And we are 35 years old this year. Amazing. [00:33:02] Speaker C: Wonderful. [00:33:03] Speaker A: And Ricky. [00:33:04] Speaker E: Yeah, Ricky, partner, I'm the Chief Marketing officer at Safes and Stuff. We are literally today just about to open our 25th showroom in Richmond down the road. [00:33:13] Speaker B: Congratulations. [00:33:14] Speaker E: Yeah, so we are. We're looking forward to that today. [00:33:17] Speaker B: Now, Sam, what sets Decor X apart from other design trade shows that have come and gone? [00:33:23] Speaker F: I think Decor x, obviously it's 47 years old this year, which is just slightly older than me, but I think, you know, and therefore very established. And, you know, it's been, it's had its kind of variations. I think it's obviously grown, just not just in size but in kind of in stature. I think it's had different locations, it's been in different locations and I think all the way through. It's really not just a trade show, it's more of a like, curated experience, we like to call it. And I think, you know, the community is. It's almost led by the community, really, rather than the kind of corporate behind it, I suppose, which is what we wanted it to continue to do ever since we bought it from Ian Thompson 17 years ago. So I think, I think a lot of other trade shows have come and gone, as you say, but I think the fact we've kind of kept it at that luxury high end level and tried not to dip in any way. [00:34:24] Speaker B: Do you think it's the community then that keeps it fresh? [00:34:27] Speaker F: I think it's a mixture of everything, really. But I do think the community is at its core. We wouldn't be nowhere without, you know, the loyal exhibitors that have been with us since the start and the new ones as well over the years. And I think the visitors, obviously thousands of them, come every year. And I think it's. It really is built by the community. We would be nowhere without the interior design community and the designers and the brands and stuff. That work with us every year. It's just. Yeah, at its core. [00:34:59] Speaker B: And what about your branding, Checkrex? [00:35:02] Speaker F: So our branding has been real variations over the years, I think. You know, I remember doing a photo shoot in the back of Siren House with products and designers. We've done a variety of different things, but in the last few years we really wanted to bring as. Again, I say community, but, you know, artisans and people that. To give them a platform, really. So the last four years we've asked someone within our Decor X Community. Going to keep saying community, but I think especially from the Making spaces element of the show, which only Adobe is very familiar with, where we get craftspeople and artisans to join us each year, we've asked one of those for the last two or three years to create a pattern for us for our branding. And most of them, like Nat Max with her marbling. We've had Ellen Merchant last year with Flowery branding. And I think this year we've asked Natasha Mann, who was part of Making Spaces over the last couple of years. And when we asked them, we kind of do give them the platform. It's a creative that we use across our website, across all our marketing campaign. It's on our signage at the show. So there's a real journey from the kind of start of them designing it into actually into fruition at the show. And most of them we've asked have kind of taken inspiration from Olympia as well, which is a lot of as we have from Tolly kind of the design elements as well across the show. And so Natasha's creative is quite Art deco feel, actually, which is. [00:36:42] Speaker G: That's Moroccan inspired. It is Moroccan inspired. [00:36:44] Speaker F: Thank you. But it's the year of. Is it 2800 years of art Deco this year? So it's got that kind of feel as well. And it's a really rich color scape. And I think, as you might have seen already, it's just a really beautiful pattern that hopefully Natasha will get some. [00:37:05] Speaker D: PR out of as well. [00:37:07] Speaker A: Wonderful. And I'm interested to hear about this curated experience. So tell us more about that. What. What is curated? What does it mean? And how does that shape the identity of Decorx? [00:37:17] Speaker F: So I think everything in Dakarux each year changes, right? Apart from a lot of the exhibitors have their own stand and they have, you know, the same position they may have for a while. Each year, what is in that stand changes. They've launched new products, they have a different design on the stand and there's so much effort that goes into that. As well. But I think we're an application based show so we pick and choose who we want to be in that show. We have to, we look at the quality, we look at the price point, we look at the craftsmanship and the history of each brand to make sure that the right fit for Decor X. We can't just have any, any old brand in there. You know, we do turn people away that aren't the right fix that. [00:37:59] Speaker C: We'Re. [00:38:00] Speaker F: In Vex, but I think, you know, and every year we have different designers. We have that do the bar, the VIP lounge, we have new artisans that are part of making spaces. We, we add different elements to the show each year when you walk in, we normally have a kind of feature area when you walk in which makes a huge impact and I think just ensuring that every year it's fresh and new and that's what people expect from us is to be able to come to decorettes and not just have to trawl stands up and down, which is great, obviously, don't get me wrong, but it's nice to have a bit of excitement and a bit of an experience. [00:38:38] Speaker B: Would you say it's the loyalty of the exhibitors or the enthusiasm of the attendees or the strength of the organisation that is most behind its success? [00:38:47] Speaker F: I think all of them, to be honest, I don't think you can have one without the other. You know, our loyal exhibitors, we wouldn't have a show without them. We have Probably, I'd say 70, 75% of the of loyal exhibitors come most years. Some of us have been, some of them have been there since the beginning. We try and have sort of the 30% probably fresh new brands each year just to keep it, keep us on our toes really. But I think, you know, the attendees, the excitement of them coming each year and actually people even, you know, on social media getting excited about it in the lead up to the show and obviously the organization is wonderful but you know, we have a great team, a great decorex team, you know, the marketing and the operations, you know, operations team. We'd be nowhere without we couldn't build the show. So I think you have to have everything, you know, the different brands, the people wanting to come to the show, the thousands of people that want to come to the show each year and some level of organization kind of makes it all into one great show. [00:39:53] Speaker A: What exactly are the goals of an exhibitor in doing Decorx? It's brand awareness, obviously, it's sales, I'm sure, But what are really the core things that you're looking at. [00:40:03] Speaker E: There's a, there's a balance, of course, and you know, there's obviously short term objectives, but for me and decorex particular, it's about, it's about, it's about brand awareness. It's about, you know, authenticity of our brand and putting it out there a little bit. You know, we, we featured last year and we did something quite dramatic for us. You know, we have, you can see on the wall here in our showroom in the King's Road. We have tons of fabrics, you know, a huge variety of fabrics. And last year we decided to focus on just one partnership, which was with the, with the V and A. And you heard earlier on from the IDs that were talking about, you know, how they put together, you know, their spaces. And we definitely approach it in the same way. It was that it was a multi century experience and, you know, it was based on the threads of India, which is, you know, from, inspired by the Mughal dynasty. So we wanted to make sure that, you know, that came across with authenticity a, to, to the period that we were representing. But also, you know, that when you came on the stand, you actually, you know, you, you, all of your senses came alive. So there was definitely the feel with the fabric, there was the smell. We had, you know, some, some, some real authentic incense, et cetera, to, to, to bring that space, bring that space alive ultimately for us, you know, we need to grow our trade category. And what better way than to do that than at Decorex and to show who we are and what we do and how well we do it. And I think it's a great platform for that. Last year we decided to launch our trade program called the Upholstery, for obvious reasons at the show. And I'm absolutely certain that the reason for the success of the Upholstery this year is because of its platform and that it had at Decorex and the, you know, the incredible people that we got to see. And I think from a, you know, a visitor's point of view, they saw us in a different light. They didn't just see florals and they didn't just see print. They actually saw the whole, you know, array of what we, what we actually do. And, you know, they felt that we have a lot of design credibility, and I think that's important when you are decorous. [00:42:14] Speaker B: How many visitors, how many people do you get through the door over the course of the four days? [00:42:18] Speaker F: Generally about 12,000. Yeah, so it's, it's a huge number. And, you know, without Big read. You're looking at 12,000 people through a showroom door in four days. So it is a, you know, it's a perfect opportunity. Maybe you do. [00:42:32] Speaker E: We've got showroom manager here today. That's now his brief. [00:42:36] Speaker F: Sorry, no pressure, but, you know, it's a perfect opportunity. So you can see so many different people under one roof, really. [00:42:43] Speaker A: Of course, of course. And one thing that you talked about there was just creating a really unforgettable experience, Ricky, which obviously every exhibitor is trying to do it decorate. So, I mean, the brains trust that goes into putting together something new every year must be, must be quite a challenge, isn't it? [00:43:01] Speaker E: It's quite a challenge when you've got so much to say because, you know, it's very easy to say it all, but actually deliver something that doesn't really say anything. So we really have to focus on what we wanted to do that year. You know, you heard a lot earlier about budgets. There is definitely a budget constraint. But last year, you know, we won one of the runners up spots for, for the, for the show and for our stand on a modest budget, I would say. And, and so we can stand out on that, but you do have to put some work into what you want to do. And, and, and I think, you know, what's the point of taking a space if you're not going to maximize that space by showing who you are, what you do, but also to pick interest from others. So, yeah, it's important to stand out, but I don't think you can stand out if you try to do something that isn't you. [00:43:56] Speaker A: Yeah, yeah. Authenticity. [00:43:58] Speaker B: Debbie, how is Quest involved in Decorex? [00:44:02] Speaker G: We've been involved a couple of years and I think this is the moment where I really want to congratulate Decorex because they had the vision and to bring in individual craftspeople and artisans into the show quite a small way, I would say a couple of years ago. And we, because Quest is a charity that supports craftspeople, we have 900 alumni and so we're a rich source of artisans and some of our, we call them scholars. Quest Scholars got involved few years back, but then, you know, Decorx then really embraced the individual artisans and, you know, developed this making spaces which is, you know, a significant part of Decorex. You know, it's front and central and I, and yeah, I think that really, really is unique actually. And they should absolutely be, you know, congratulated. And I think our involvement is because we know a lot of craftspeople and making spaces is an open call for art. [00:45:12] Speaker B: So just for some of our listeners that might not be familiar with the Making Spaces part of Jequerius, just explain what it actually is that you're doing there. [00:45:20] Speaker G: Yeah, so it is for individual craftspeople to have a platform. And Sam talked about platforms which are really important. [00:45:29] Speaker B: So like little mini stands almost. [00:45:31] Speaker G: Yes, absolutely. So it's, it's. Each of the individual craftspeople are demonstrating and showcasing their particular craft. [00:45:43] Speaker B: I saw someone last year doing rush weaving, which was absolutely perfect. [00:45:47] Speaker G: The boys to Marchmont workshop up in Scotland. We had Libby Ashdown doing parsementary tassels. Lots we all know about those. We had ceramicists, we had Natasha Mann that Sam's spoken about. You know, she hand paints in a Moroccan style using handmade pigments. So, you know, very individual artisans, mostly individual, some small businesses, but I think that's the key thing. And they are there demonstrating, highlighting their, their skills, the importance of hand skills in an interior design world. But, but really giving them a platform. You know, platforms are really important to individuals. You know, it's tough for individual grasp people. [00:46:38] Speaker B: 12,000 designers come through the door, pick up the cards from the boys doing the retro weaving and lo and behold, their business expands exponentially. [00:46:46] Speaker F: Absolutely. [00:46:46] Speaker G: And the feedback from there were 14, 15 last year, there'll be 14 this year. And the feedback from those individuals is this is the best thing we've ever done because it is. You are getting people through the door, whether they're architects, interior designers, specifiers, they're there and they would not have that platform if it were not for decorrex. So it's really, really important for those individuals. [00:47:17] Speaker A: And that's also really important for the tone of the show, Sam, I would imagine. [00:47:21] Speaker F: Yes, it is. And actually I just wanted to say that a lot, some, we've had some people from Making Spaces who now come back and have stands. So we call it Making Spaces next chapter. And you know, we've got, we had some of the artisans come back next year and join together and buy a stand from us essentially. So it's a really nice sort of journey there on as well. [00:47:42] Speaker B: Ricky, how do exhibitors measure the success of their participation? [00:47:47] Speaker E: Well, I think as mentioned earlier, you know, we spoke about launching our upholstery program so our trade membership last year. So that was a very easy way to see how many sign ups that we had on the day for that. But also then the relationships that we build with those IDs as you work through the year. We have the upholstery has its own portal. So when you join, you have a membership and you have a login to a portal and it's not a space for us to sell you anything else, it's just a space for us to talk to you much more about the industry that you're in and the design features and all of those things which we believe that ideas and creatives need that kind, like they need food and air, they need that kind of sustenance on a day to day and we provide that as well. So, you know, it's about how we sort of nurture those relationships, how many times they come back to us and work on projects with us as well. So that, that, that's really important for us. But also, you know, we, you know, services staff and I personally believe that if we are going to make a dent in our industry, we need to be known and used and recommended by the people that are experts in that industry. And so, you know, the more and more they talk about you and you can see the effects of that for social media and even still the old traditional word of mouth, you can, you can see how that is impacting, you know. And so, so that's, that, that's definitely a measure. But, but for me it's all about brand at the moment. For us we're on a brand journey and so we want as many people to see us as possible. [00:49:19] Speaker B: So I'm guessing the return on investment, really, it's a slow burn. It's hard to actually say, do you measure it year one, year three, year five, year 10? [00:49:26] Speaker E: And there's different ways obviously to measure it. But again, you know, I think it would say more about us if we wasn't there. That's an important way for us to look at it. So the cost is one thing, but the cost at not being there, I would say is far greater. [00:49:42] Speaker B: So being a Decor X exhibitor, obviously you get the cachet that goes with being part of that curated experience. [00:49:49] Speaker E: Yeah, absolutely. And our brand is there in front of 12,000 people. And I, you know, I didn't research that, I just heard it. But in front of 12,000 people that they probably. And if we're totally honest, two years ago wouldn't have necessarily known who we are and what we do, but they are starting to now. And platforms like Deco X are providing that opportunity for us. [00:50:11] Speaker A: I mean, it's interesting to hear that experience from the small makers as well, up to the bigger brands. [00:50:16] Speaker E: I think the small makers is, is also a really interesting point for us because, you know, we are craftspeople we have our own workshop. We make everything in the UK up in Preston. And you know, they make everything. Yeah, there's some technology involved, but, but, but traditionally they do it all with their hands. They still do that. And so, you know, we are seeing the sort of the pipeline for those craftspeople not drying up, but certainly not, not, not, not as major as they were a few years back. So it's really great to see that people are still doing that and there's organizations such as Crest and obviously Decorate providing that platform for those people. And it gives us inspiration too because as a big brand or you know, a medium sized brand as we are, delusions of grandeur there. But we, you know, we, we take inspiration still from that. It's very easy to get sucked in and do what you do. But actually there's so much more out there. So it's an inspiring, inspiring. It was one of my favorite things to do last week. [00:51:11] Speaker C: Talking about. That's. [00:51:13] Speaker D: Yes. [00:51:13] Speaker B: And I love the. I feel so I learn a lot when I go and I watch the artisans actually doing their thing because I'm learning about techniques and I can then tell those stories back to my clients. [00:51:24] Speaker G: That's right. And I think people, that's one of it. You know, the feedback I got isn't as one of the highlights exactly right. Because it was that sort of engagement that, that and, and craftspeople are very passionate individuals, aren't they? And they tell their stories so brilliant. You know, we, we, I say we have a support a lot. And when they come to interview the quietest person, very nervous tears, almost the stress of wanting to get funding for their particular training. But once you set them off and you say what do you do? What do you want to do? Where do you want to go to? They're just like off and running and it's just so. And yet I think that's what you really get from making spaces. And I love the fact that, that it's a really eclectic range of crafts, you know, from wood to textiles to, you know, painting. I think we had a straw embroiderer. Andy Newton was there last year and I, I think we've got Carl Fox this year. Marquetry. [00:52:29] Speaker D: Real mix. [00:52:29] Speaker G: Yeah, a real mix. And I do think that's important because I think perhaps sometimes that, to pick up your phrase, that interior design community are not necessarily aware of some of these skills. We were talking a little bit about this earlier is that, you know, interior designers, it's great. You know, they, they do use craftspeople to bring their designs to life. But you know, I always say, I don't wish to be controversial, but I always say, you know, just, just to be a little bit daring. Use someone that you might not know about. Give. Give a new person who may have been slaving away and practicing their craft for 10. And this is what Decor X does for them. It brings them to the fore. You know, be daring, use someone new. Yeah, that's exciting. [00:53:19] Speaker A: I just wonder, Sam, have we covered everything? Is there anything else that you'd like to remind the audience about? [00:53:25] Speaker F: There's lots more going on and there's. [00:53:27] Speaker A: Some pretty great talks going on. [00:53:28] Speaker F: But yeah, I was about to say that. Lots of great talks. My colleague Kali has managed that whole program. Exceptionally so, I think. Yeah, we have talks on a lot of business related talks. I think this year we've, we've sort of learned from past experience. We've got a lot of feedback, which we do every year about all of the show. But a lot of people just want a bit more business, a bit more real hard hitting talk. So we've got a lot around that. We're actually introducing some round tables this year as well for first time, which will be kind of an opportunity for people to jump around some tables and get little snapshots of various things, maybe marketing or negotiating or things like that. And then obviously making spaces. The wonderful bar and the wonderful VIP lounge we all can't wait to see. And just, you know, there'll be something quite impactful when you walk in. We've got a whole another area with just sustainability talks and yeah, a lot more. [00:54:30] Speaker D: So it's a lot going on. [00:54:32] Speaker A: A lot going on. Well, can't wait. You looking forward to it? Thank you so much for your time today. Thanks to Tolu and Lucy who joined us for the first half of the show, but also Sam, Debbie and Ricky. Thanks so much. It's great to have these insights into what's coming up two months away as we speak now, so not far at all. [00:54:50] Speaker B: A real behind the scenes peek into the machinations of decorex and the mechanics of the pop ups. It's been the most fantastic and informative conversation. Thank you to all and of course, thank you to sofas and stuff, who have hosted us today in their beautiful, comfortable, squishy showroom. [00:55:08] Speaker A: Squishy? Is that a room? [00:55:09] Speaker F: It's a squishy showroom in the Kings Road in Chelsea. [00:55:12] Speaker B: It's been amazing and congratulations on opening your new branch today in Richmond. [00:55:16] Speaker A: Thank you very much. Congrats. And we do hope you've enjoyed this episode. Please do get in touch on our social channels nterior Design businesspod to share any feedback. The interior design business is a Wildwood production plus production. Thank you.