Episode Transcript
[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, creative director of Tasuto Interiors and a past president of the British Institute of Interior Design, to talk about creativity.
We're here at Studio Vero and Suzy, tell us more.
[00:00:19] Speaker B: It's often said that interior design is 5% creativity and 95% uphill slog. Most of what we do involves translating a creative vision into a set of instructions for simple somebody else to build and then battling through to make sure that that vision is realized. So while the process is important, without that precious initial spark, there is no interior to build.
All designers suffer at times from designer's block. There are times when the ideas simply will not flow and times when the designer can find themselves drowning in the 95% of the project admin.
So how can designers keep their heads above water and keep that creative skin spark alive? Where should they look for the design hooks that will make their project sing? And how can they hold onto their vision while weathering the din of project noise that can sometimes threaten to overwhelm them?
Welcome to the interior design business.
[00:01:17] Speaker A: Now, to find out the answers to these and other burning questions, we are today joined by two very special guests, Venetia Rudabeck and Romano Sprehy from Studio Vero.
[00:01:28] Speaker C: Hello.
[00:01:29] Speaker A: Now, you two are the creative vision behind London based practice Studio Vero. And you were recently named, I believe, one of House and Garden's top 100 finest interior designers.
[00:01:40] Speaker B: Welcome to Vero.
[00:01:41] Speaker C: Thank you. Thanks for having us.
[00:01:43] Speaker A: Great to have you.
[00:01:44] Speaker B: So before we begin, I was just hoping you might be able to tell us a bit about Studio Vero, how you came to be working here together and what's the story and what sort of projects do you do?
[00:01:54] Speaker D: Well, we actually have been best friends since the age of 13, so we met a very long time ago and Venetia sort of our. We were at school together and then Venetia went off and studied at Leeds. I went to Royal Holloway and Venetia went to KLC the year after and I was sort of at a bit of a loose end and just loved everything Venetia was telling me about the course. So I did the course the following year and then we both went off and did stints at different studios.
But it was.
And then we set up, funny enough by ourselves. So I set up a small studio Venetia did and we were just on the phone all the time together because it is quite a difficult business to do by yourself.
[00:02:41] Speaker B: It's hard being a silo.
[00:02:42] Speaker D: And you know, if one of us sort of needed an extra pair of hands. I remember Venetia coming in one weekend and helping me, us doing a project and it was just a sort of very natural sort of path really. And we formed studio Vareo in 2014 and not many people were surprised. I mean for most of our friends, they always believe we'd set up.
[00:03:06] Speaker B: It's like, what took you so long really?
[00:03:08] Speaker D: So yeah, it's hard to believe that's 11 years ago.
[00:03:12] Speaker A: Anything to add, Fenecia?
[00:03:14] Speaker C: No, everything he says is true.
Yeah. So we set up the company just over 10 years ago.
We had our 10 year anniversary last year, which I think was a real milestone for us.
I don't think, you know, when we set up the business, either of us had much of a clue about business. But I think, you know, the one thing we are always sure of is that, you know, interior design was really the only path for us.
So it's been a, it's been a journey. There have been highs and lows, but the highs definitely outweigh the lows. And you know, it's, it's. I think we're so happy that we're now in a place where we. I think, I think our kind of vision and our aesthetic is just, we're just so kind of confident in it and it's become really enjoyable and I'm. I think, you know, I think the clients feel that too. Really.
[00:04:13] Speaker B: What sort of projects do you focus on?
[00:04:16] Speaker C: Well, they're all.
Well, not all. They are primarily private residential. So the client is everything as you know. And you know, we work on these projects with clients for anything between, you know, a year really and up to, up to four. One of our, one of our great projects that we finished a year or so ago, we were working on that for four years. I managed to have two children during the project.
Just to give the client always last year it says that the street name of the house should be one of the kids middle names.
But yeah, it's, it's just a really. And I, but really where I'm going with this, I think that's really one. That's the thing we love most about it is the.
[00:05:04] Speaker D: A lot of variation.
So we are working on everything at the moment from sort of small townhouse in Notting Hill to very large residences, you know, in Knightsbridge and everything in between. And all the clients are very different and the aesthetic is like. I mean definitely, I would say all our, all the designs we do definitely have A common thread running through them. But our clients are, you know, in terms of background, in terms of culture, in terms of ages, are all exceptionally varied.
[00:05:36] Speaker C: Yeah, I think at the moment we're working for 27 years old, up to 85 and everything in between.
[00:05:45] Speaker A: Wow.
[00:05:46] Speaker C: So, yeah, it's fun.
[00:05:48] Speaker A: Okay, so creativity then. Let's explore that. And I'm interested to know what happens when a new project actually comes into the studio. What's the first thing that you do to get your juices flowing?
[00:06:00] Speaker D: Well, we're very collaborative. I mean, you've seen the studio here, so it's very much open plan.
Venetia and I kick off, well, all our projects kick off with a design consultation with the client.
So that is sort of generally a two hour meeting with a client where it's what we call. It's like a thorough getting to know meeting where we will have a whole list of questions that are relevant to them and it's a chance for the clients to run through. A lot of clients now are savvy when it comes to Instagram, Pinterest. They have their own sort of inspirational images.
So that is a really important meeting because most of our projects, we are doing the interior architecture as well as the FF and E.
So that really enables us to understand sort of things like are they big cooks, do they entertain much, do they have pets, et cetera, et cetera. I mean, it really goes down to the nitty gritty from, you know, what are their clothing storage requirements?
And then from that we move on to the conceptual phase on the layouts, which is probably one of my favorite phases of the process.
[00:07:16] Speaker A: And are you doing these things together or do you separate the projects when they come into. That's a Venetia job.
[00:07:22] Speaker C: And that's a job at the beginning. It's very much together. And Romanos and I, you know, we are involved in all of the projects. One of us will take more of a lead. But, you know, all of the projects that are running through the office at the moment, we both are very involved in lots of aspects of them.
So. But yeah, I think, I think that initial, the initial couple of phases being that design consultation followed by the concept phase, it's really great having both of us fully involved because you want as many ideas as possible. And I think, you know, with the design consultation, that's the major, that's the, you know, that's the big meeting. But ahead of that already there'll have been, you know, visits to site phone calls with the client, and you're constantly Picking up on things they're saying or interpreting things they might not be saying or, you know, and I think two of us on that means that we.
Yeah, exactly.
It's really, really helpful.
[00:08:28] Speaker B: So would you say you both have different strengths?
[00:08:32] Speaker C: No, I wish.
I wish he did.
[00:08:36] Speaker D: We don't. They're exactly the same.
But Venetia's definitely, I think, and I'm not just saying this because she's my best friend, but she's very considerate.
I tend to do things sort of in quite a sort of fast manner and Venetia sort of pulls me back sometimes and sort of makes me think maybe, you know, in a slightly different direction. But no, I would say our strengths are exceptionally similar.
[00:09:09] Speaker C: Yeah. And I mean, I'd say we both do that for each other.
But I do think, you know, the other great thing is that, you know, like anything in, like, you know, some, there's a bigger connection often between certain people than there is between others. And that's often how one of us will end up taking a lead on a project, because you might just have some kind of connection or something in common or you just simply get on better, you know.
[00:09:32] Speaker A: And is there inspiration that you take from Romanos and he takes from you? Are you?
[00:09:37] Speaker C: Definitely. I mean, if I ever do at my own house properly, I'll definitely. I'll definitely.
[00:09:42] Speaker A: It's a vote of confidence.
[00:09:44] Speaker D: Well, do you know what? It's something. And Susie, we were discussing this about the sort of mentoring earlier that, you know, what I really try and get sort of graduates to grasp is that this is not a 9 to 5.
This is a lifestyle. Being an interrogate isn't there? And it's funny, Venetia and I sort of, at the end of the day, that's not sort of the end of work for us, but it doesn't feel like work. So Venetia's sending me sort of a Christie's auction PDF at sort of 9pm at night.
So it's just you're constantly living and breathing and reading and looking for that inspiration. So we're very often at night still flicking each other sort of ideas or seeing this piece.
And I really enjoy that part of the business.
[00:10:33] Speaker C: Yeah, yeah, yeah.
[00:10:34] Speaker B: No, no, it's amazing.
Do you also take inspiration from your clients? Do you find them inspiring?
[00:10:40] Speaker C: Yeah, absolutely.
They're all. I mean, we're so lucky that, you know, we work with some really, really brilliant people.
Az on as just alluded to, they're all very different.
So I think, you know, the different backgrounds and See, different professions just makes it really an interesting. And you know, definitely, definitely take inspiration from them.
You know, people kind of come out with comments, clients, you know, like, oh, well, you know, I'm no good at this, so I'll defer to you, whatever. And it's obviously complete nonsense. I mean, everyone. And then you can see, of course they've got taste, you know, they've got the most, they dress amazingly. Like, you know, it's just, they're just not practiced, you know, but it's really fun working with them. And you know, especially when it comes to things, you know, like building the, the art collection or the accessories or just all of those, you know, it's, it's lovely doing it with them and, and you know, that's where I think we get a lot of the enjoyment from.
[00:11:43] Speaker A: Interesting. And how does that, how does that inspiration then feed into the client's vision of the project, into your designs?
[00:11:53] Speaker B: Oh dear.
[00:11:54] Speaker A: Or do you. Indeed we do.
[00:11:56] Speaker D: I mean, I was just thinking as we were discussing that, you know, I mean, I'm thinking of one of our clients who only sort of is interested in Georgian antiques. Now that was something that was not immediately our comfort zone.
But I really enjoyed the whole process of really improving my knowledge about Georgian antiques.
And I was also thinking when it comes to the art, we had a client a couple of years ago, they only had South American art. They were South American themselves.
And definitely, I would say the interiors really complemented their art beautifully. I mean, it was very vibrant, the interiors we did.
And so, yes, it does influence us.
Some kites come to us without any idea at all about what they want. So that's really. I really enjoy that process of sort of, you know, trying to teasing it out at people, teasing it out at them and finding out and maybe making them think of something that they just had never thought of. So it's very much client dependent, but definitely clients coming to us with quite a strong aesthetic.
It's not a bad thing, you know, that they're obviously coming to us because they still need our help, but they've got a much clearer direction or maybe they've done it a few times before.
And I think definitely clients that have had experience working with interior designers have a much clearer idea of what they want this time around.
[00:13:33] Speaker B: So my next question, which you sort of answered in a way is, are clients existing possessions a boon or a hindrance?
We used to talk about eps existing possessions back in the day is that we.
[00:13:47] Speaker C: Yeah, I mean, we, we are more often than not working with existing pieces. And, you know, sometimes they're a great starting point to a scheme.
Most, you know, they've got a fantastic rug or it's a wonderful piece of art, then, you know, it's set off the, you know, the palette or.
I'm not gonna lie. There are times when I might leave it to Romanos to say, do you know what, guys? I think we can do that. Or no.
Or this. Maybe we could use this in your. In another house.
But, yeah, I mean, you know, obviously we want to be, you know, for lots of different reasons, but most, you know, if somebody. People are bringing stuff with them, you know, more often than not, it's got a great emotional time.
We want to incorporate these pieces. We want it to feel like a home.
Yeah.
[00:14:34] Speaker A: Anything to add on that?
[00:14:35] Speaker D: No. I mean, Venetia touched on it. We did a project a few years ago in Chelsea, and they had this incredible antique Persian rug that we ended up using in the entrance hall. And it's quite fun working within those constraints sometimes.
But, no, it's rather nice when clients bring something from their past that we work, you know, that we can sort of create designs.
[00:15:03] Speaker C: Eliminates the. It's quite funny. What we do often have is a kind of.
We might have a couple, and one half of the couple is saying, I definitely want to keep my, you know, coffee table that I bought back from Thailand on my travels and whatever. And, you know, the. The other half, the couple will be saying, make sure you get rid of that.
[00:15:24] Speaker D: So.
[00:15:24] Speaker C: So, yeah, it's.
It's. Yeah. But no, we. We love incorporating old pieces.
[00:15:30] Speaker B: Yeah.
[00:15:31] Speaker A: That's navigating those tricky personal relationships.
[00:15:34] Speaker C: Absolutely.
[00:15:35] Speaker D: Very much.
[00:15:36] Speaker A: What about the building? I mean, a lot of the projects. You must work on it. It comes to you from the architecture of the building as well, doesn't it, surely, the creative spark?
[00:15:45] Speaker D: Definitely. I mean, we love sort of properties, pero. Properties with a wealth of architectural interior features, and it's great working with those.
And sometimes you're not. I mean, we're working on a house in Nottingham at the moment, and all these details. I mean, don't forget 20 years ago it was quite fashionable for this kind of white box look. And all the architectural details were ripped out. Fireplaces, cornices, skirtings, architraves, etc. Etc. And we love putting these back in.
[00:16:17] Speaker A: Yeah.
[00:16:18] Speaker D: Because we think it's a really good sort of grounding for our sort of interiors.
And without them, I find it quite difficult, actually.
[00:16:29] Speaker B: Yes. Yes. Lacking in spiritual soul.
Do you find at all that clients can have very fixed ideas about how their spaces will be used. They come to you and they kind of go, okay, it's a four bedroom house and this room's going to be that and that room's going to be that and that one's going to be that. And do you find that you, you see beyond that is that, does that create issues at all?
[00:16:53] Speaker C: Well, our job is really to present a number of layout options and within those, you know, we'll obviously show the options that they want, but it's also our job to show them options that they hadn't thought of and that I just love that space planning.
So many homes in London are, you know, people are using 40% of them and you've got these empty rooms.
You know, the architecture is, you know, is not for modern living. And, you know, and that's where, you know, I think we can really, we do really add value. And I love it when, you know, you can really rework a home and you're not even extending the square footage, but you're actually just making it feel so much bigger because you're using all the spaces.
Yeah, so.
[00:17:44] Speaker B: So finding, finding purposes for those.
[00:17:46] Speaker C: Yeah.
[00:17:47] Speaker B: Unused drawing rooms.
[00:17:48] Speaker C: Unused drawing rooms. Guest rooms that get used twice a year. Yeah.
You know, rooms that just become kind of dumping grounds because you haven't got a proper hall with decent storage and, you know, all of that.
Yeah.
[00:18:04] Speaker A: Okay. And how important is it for your clients to buy into this design process?
[00:18:09] Speaker C: Well, I mean, it's hugely important.
Yeah, we, the clients have got to be fully on board and we've all really, we really got to be singing from the same hymn sheet, for want of a better kind of way of putting it.
I think if we're not all in agreement by the end of the concept phase and we haven't got a clear design direction for the project of how it's going to be executed, that's a kind of red flag moment for us. And, you know, we've all, we've all got to be on board. You know, Romanos and I always say that the biggest, you know, there's got to be trust between us and the clients.
And if, if that isn't there, it just.
The project can't work.
[00:19:03] Speaker A: Yeah.
[00:19:05] Speaker C: So, yes, yeah, very important.
[00:19:09] Speaker B: Do you have any kind of tricks or tips for how, how do you ensure that you're taking your client with you on this design journey?
[00:19:16] Speaker C: You know, if you get to the.
[00:19:17] Speaker B: Point where you are perhaps parting company at the end of the, what do you do? How do you bring them back on track or do you then veer off to follow in their footsteps or do you just part company that.
[00:19:28] Speaker D: Well, I think, you know, a lot of our projects, I mean, I'm just looking at the project board behind Venetia. A lot of our projects are repeat, so it's very much what we always sort of give our clients. And when you're small and we are a studio of seven, you are able to give that client an incredibly personal, personal service.
And where, you know, Venetia and I are incredibly involved, we attend all client meetings and we oversee all the designs in the studio. So the clients really will hopefully feel very well looked after by us.
And it is. I mean, it is a sort of, you know, after people, you know, homes are the most emotional thing in their lives.
So we really are very aware of that and we give our clients this the best service we can, and a lot of them become friends.
[00:20:31] Speaker C: Yeah, I think it's all about communication.
Pretty much like any relationship. It's, you know, it's constantly staying in touch, keeping them updated, having, you know, I think it's. That's where things go wrong. And I think, yeah, it's all. It's all about constant communication.
[00:20:51] Speaker A: Okay, so designer's block, Isn't that a thing here? And if it is, how do you deal with it? What happens when you. You do hit a wall?
[00:21:01] Speaker C: Well, that's where I really take my hat off to people that are working on their own.
Because the great thing here is obviously, you know, there's a group of us, so, you know, you'd be lying if you said that you were always a kind of optimum creativity.
Obviously, you know, there are sticking points in any project, whether it's creatively or just, you know, a kind of difficult part of the project. But I think it's everyone else that kind of, you know, that can bring you out of that.
The other thing that Romanos and I really, really benefit from is. Is getting out of the studio.
There's nothing more inspiring than going to see something. I mean, it can be completely unrelated, but just having that mental break, you know, and it might just be like, you know, the detail in the breath bar of the restaurant that you stocked on on the way back that, you know, just made you think of something or, you know, it just. I mean, we love looking.
We love. I mean, London is just an inspiration itself, really, isn't it?
[00:22:09] Speaker B: And I think. I think you've just touched on something quite key there. Looking.
Is it essential that interior designers are capable of looking and actually seeing what.
[00:22:18] Speaker D: They'Re looking at 100%.
But funny enough, I don't think it's not something you can learn. It's either inbred in age.
I was always incredibly. I had a fantastic visual memory growing up.
Sadly don't serve me that well in my academia, but I had a fabulous visual memory and it's interesting and I see it with one of my nieces who can recall things and it's definitely something that is quite difficult to train.
So you either sort of, you know, walking around, whether it's a museum or whether you're walking around one of your sites having that very sort of attention to detail other people's houses. Absolutely Hammermouth.
[00:23:05] Speaker C: And like, you know, it's the same, the same thing, you know, all. Everything in life now just, you know, getting off the screen and getting out into real life is, is just so much better.
[00:23:17] Speaker B: No more.
[00:23:17] Speaker C: Jim Scholar.
[00:23:18] Speaker A: Have you got any favorite places that you would go to?
[00:23:22] Speaker D: Good question.
[00:23:23] Speaker C: Very good question. I mean, I think one of the things that we really love doing is looking around other homes, whether they're huge National Trust stately homes or just other properties in London, especially when they are of a period that hasn't been completely changed. I think that's always a real inspiration to us, isn't it?
[00:23:53] Speaker D: And we've done a few sort of outings with the team. We did Dennis Savage House, which is in Spit of Gold.
Leighton who I'm absolutely in Holland park.
But yes, Venetia and I turned to visit a lot of.
We did a wonderful visit of an artist's home in Bloomsbury a couple of weeks ago, which is super inspiring.
But yes, just generally anything that's sort of interiors related.
[00:24:23] Speaker B: Fascinating.
[00:24:24] Speaker A: Before we continue, we'd like to do a quick shout out to Natural Match, 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 Suzy is a name to know.
[00:24:39] Speaker B: Yes, their beds and mattresses are handcrafted using natural organic materials. No synthetics, no glues and zero harmful chemicals. Plus their organic wool filling makes them naturally fire retarded, so no need for chemical sprays.
[00:24:52] Speaker A: And they're also the first B cork 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 going to landfill.
[00:25:07] Speaker B: And there's showrooms, a total design inspiration. Each one features a sleep zone with dim lighting, calming scents and even a bird song soundtrack which was recorded in the nature reserve adjacent to their Devon workshop. It's a sensory experience that you and your clients will find inspirational.
[00:25:23] Speaker A: So you can visit them in London, Knutsford, Devon or in the Cotswolds, or catch them at Decorex this October.
[00:25:31] Speaker B: Learn more at naturalmap.co.uk natural map where sustainability meets Sleep beautifully Venetia.
[00:25:38] Speaker A: Once you have that initial design vision, moving from design vision to creatively, then applying that and realizing it, to show to the client and get them on boardisha.
[00:25:49] Speaker D: It's really about the concept presentation and.
[00:25:52] Speaker B: Yeah, I think so.
[00:25:53] Speaker D: That really dictates. Yeah, the following.
[00:25:56] Speaker C: Yeah, I mean, things are constantly being kind of developed and expanded and then, you know, we kind of. And then it's. You're kind of honing in on things that are chosen and liked and developing them more and eventually getting to the point where things are complete. And that's a really, you know, ever evolving, fairly long process.
And, you know, you do that is when you can kind of get quite kind of creatively caught up in it and spend hours. But it's so great when you do get that and you suddenly start running with something. And to your point earlier about kind of, you know, that creative block, it's like, you know, when you've got the opposite of that because you're suddenly.
[00:26:38] Speaker A: You're in the zone.
[00:26:38] Speaker C: You're just. You're just in the zone. Exactly. And the other reason I know is I'm desperate to tell everyone about it. Like, Romanos, I know you're going out for dinner, but you got to listen.
This is what we should do. So, yeah, it's. It's a.
It just comes, doesn't it?
[00:26:56] Speaker B: And what sort of tools do you and the team use to help you develop your designs?
[00:27:01] Speaker D: I'm just thinking about a project at the moment. We are using sort of inspiration from a couple of old catalogues, Christie's catalogues that we had, and just using inspiration from a few. There's a few genre pieces in there that we're using inspiration from, but really, you know, once we get the clients on board with the conceptual design and we have their feedback on it, actually, you know, the design direction then is very, very clear for us.
But we love looking. I mean, we. We use a lot of antiques anyway, but in terms of sort of, you know, more, you know, new pieces, we. We love designing bespoke pieces.
I mean, that, to me is a big part of. Of what we do.
[00:27:49] Speaker C: Yeah. And we're constantly drawing, you know, you're drawing things up, draw you know, visuals of the room, individual, you know, specific pieces working out. What work that hasn't worked. Not going to. You know, this detail isn't going to. Or, you know, now the room's drawn up, actually, that feels way too heavy and so on. But also, those visuals are just key for clients.
They really need to see that.
[00:28:12] Speaker D: They're very excited.
[00:28:12] Speaker C: Yeah.
[00:28:13] Speaker D: See them as well.
[00:28:14] Speaker C: Yeah.
[00:28:14] Speaker B: And do you find that, you know, you've gone down something or you've. You've assumed a direction from the design concept and actually when you draw it up, you kind of go, you know what? That's really not working. You then have to go back to the client.
[00:28:24] Speaker C: You go, you know what?
[00:28:25] Speaker B: That's really not working. Are they happy to buy your advice on that?
[00:28:29] Speaker D: I was so push.
[00:28:30] Speaker C: Absolutely. Yeah. I mean, I think that's.
[00:28:33] Speaker B: I suppose it's the honesty of the.
[00:28:34] Speaker C: Communication and, you know, we've, you know, we've given this a go and actually, I'm just not.
Yeah. And I do better. Yeah.
[00:28:41] Speaker D: It's pollen process.
[00:28:43] Speaker C: Yeah. Yeah.
[00:28:43] Speaker B: No, no, totally, totally.
[00:28:44] Speaker A: And your work is complex, richly storied. So how do you approach the layering of colors and materials in your designs?
[00:28:54] Speaker D: Well, again, this is very much dependent on the client. We love using color. We also sometimes do a lot more paired back interiors with sort of just hints of colour.
For us, the layering is very much the art, the accessories, the textiles, but the finishing touches.
I mean, a project is never complete in my mind, unless we've done, you know, helped with all the decorative accessories and of course, the art. And the art is something that can often be an afterthought.
We like to bring that right to the front and. And sort of that. That really is part of our initial discussions with the client.
You know, do they have an. Do they have an existing art collection they like to bring with them?
And.
Yeah, it's, it's.
[00:29:48] Speaker B: And I suppose making sure there's budget allocated for it too. I know we're not talking about budget today, but making sure that there's enough money.
[00:29:54] Speaker C: Why?
[00:29:54] Speaker B: Quality things.
[00:29:55] Speaker A: Yes. Creativity needs a budget. Right.
[00:29:57] Speaker C: Yeah.
[00:29:57] Speaker D: We don't. We don't want posters on the wall at the end of the pattern.
[00:30:01] Speaker C: Quick photograph.
[00:30:02] Speaker D: Well.
[00:30:04] Speaker B: What is your approach to working out how and where Those really key FF&E pieces should go and where they're needed?
[00:30:14] Speaker C: That's a great question.
Well, the key from these places is true. Like this. Yeah. You know, they're really. It's rather like a piece of art. You know, you. There'll be Certain rooms and certain spaces in those rooms where you really feel that they deserve a kind of, you know, great piece.
So yes, I mean there's a natural hierarchy. If we're doing kind of family homes, it's unlikely that, you know, the top floor is going to see much, you know, to be in the, in the key rooms.
But I don't know, I. I think we just think about. It's really about creating interesting schemes with lots of different pieces and it kind of happens naturally. I would say more than.
Wouldn't you. Wouldn't you agree, Ramos? You know, it's, it's just again, it's.
[00:31:04] Speaker B: This idea of Layering.
[00:31:05] Speaker D: Yeah, layering. And you know, it's funny because last year we did the kitchen at wow House and what we wanted to sort of. And Venetia and I in both our kitchens at had great pieces of art in there and very often clients spend most of their time in the kitchen but the best art is for the living areas.
So we really wanted to show, you know, you can bring, you know, fantastic pieces into the kitchen and enjoy them.
[00:31:35] Speaker A: And sourcing antiques and art. I get the feeling you really enjoy that part of the job big time.
[00:31:40] Speaker B: Especially if you're sending each other the catalog boss at 9pm well, it can.
[00:31:44] Speaker D: Be very costly because we tend to sort of buying up for ourselves as well. But no, it is definitely part of, you know, part of the business that Venetia and I absolutely love.
And funny enough, I think when we look back to our teenagers, we were very amateur sort of collectors back then and still are. And it's something, you know, I get immense pleasure from and doing it for clients is almost, you know, it doesn't feel like.
[00:32:13] Speaker A: What a joy. Yeah, what a joy.
[00:32:16] Speaker B: So how often and at what stages of the journey do you meet and get sign off from clients as you're taking them on this journey?
[00:32:24] Speaker C: How often during the. Yeah, so what we obviously, yeah. What we try and do actually now at the beginning of a project is give quite a clear program of the project, you know, at least that year ahead.
And when we're going to need meeting, when we're going to be presenting to them, when we're going to require meetings, approval because, you know, you sometimes very rarely get a client and they will say just do it.
But most clients want to be involved and so we do need that feedback for us to kind of move things forward.
So yes, you know, every few weeks we will be meeting with them, but often a lot more than that. I mean, I've got clients that I'm in contact with daily or, you know, if either anybody. WhatsApp. But just kind of obviously different phases of the project.
[00:33:20] Speaker B: Yeah, that's like critical times.
[00:33:22] Speaker C: Exactly.
[00:33:22] Speaker A: And how do you respond if that feedback isn't entirely positive about the creative direction?
[00:33:30] Speaker B: If it isn't.
[00:33:31] Speaker C: Sorry to interrupt you. I think if it isn't positive, it probably means that I've missed something or I haven't understood or I haven't listened properly, you know, because we should be.
The, the feedback we're getting.
[00:33:47] Speaker D: You should be aligned.
[00:33:48] Speaker C: We should be aligned because we need to kind of go back to the consultation phase and really kind of hone in on that.
[00:33:55] Speaker A: I'll go look at. Interested in the husband and wife situation with coffee tables. So what if that appeared in the scheme and it was presented to the partner who didn't want that in the school?
[00:34:06] Speaker C: I mean, I, I, I think wouldn't happen.
Yeah. I mean, with most, most clients who think they have quite different taste, hopefully what you end up giving them is something slightly different. What they both thought they'd have that they, that they both fall in love with. I mean, that's the key really, is getting them both to fall in love with the scheme. And then it can just, I'm very offset.
[00:34:31] Speaker D: I mean, more times than not, you find working for a couple that they will have completely different aesthetics.
And we did a project many years ago he loved sort of very contemporary, she loved more sort of timeless, classic.
And, you know, usually what you see is one of them will take charge.
[00:34:54] Speaker A: Okay.
[00:34:55] Speaker D: And definitely that is a bold success.
[00:35:00] Speaker A: Got it, got it.
[00:35:01] Speaker B: So are there any other designers whose work inspires you?
[00:35:05] Speaker D: Good question.
Lots.
[00:35:08] Speaker C: Yeah. So many. I mean, from, you know, for the last 20 years ago. I think I must refer to Stephen Gambrell's website at least once every 48 hours for anything in the city. But I just, I love his work and I think his use of color is just so inspirational. And he puts together color combinations and palettes that I wouldn't think of. And that's what I think is really interesting and is very difficult for other people to imitate. You know, most people, it's just so obvious and I, but lately, I don't know if it's the weather outside.
I, I don't know. I'm so drawn. Australian interior design is fire. And Tamsin Johnson's kind of airy.
Yeah, that's where I'm at at the moment.
[00:36:01] Speaker B: Nice, nice climate.
[00:36:02] Speaker A: Related.
[00:36:03] Speaker C: What about you?
[00:36:04] Speaker D: Me?
Well, sort of closer to home, I'd say their Granny is always someone that. I've loved his interiors, they've just got a wonderful timelessness to them that could have, you know, will probably be there in 50 years time and still look equally as fabulous.
But there's almost too many to choose from. But, yes, we are, you know, we. We love looking at other interiors for interior designers for inspiration.
[00:36:35] Speaker B: We feel like we're living in a bit of a golden age, actually.
[00:36:38] Speaker A: It really does. Yeah, it really does. And what would be the one piece of advice you would give to designers struggling to find the right hook?
[00:36:46] Speaker D: You know, I'm one thing. I've always.
I love. I love hearing from my team on a Monday is what they've been up to on a weekend. Get out there and just, you know, take it all in and build yourself a fantastic blackbird and just read and see as much as you can.
[00:37:09] Speaker A: Sounds pretty sexible to me.
[00:37:10] Speaker D: Just living.
[00:37:10] Speaker A: And you think it all on top of that.
[00:37:14] Speaker C: No, I totally agree. I mean, I, I sometimes there are certain exhibitions that I think you go to. And again, on the kind of color combination thing, I'll see in paintings, colors that I never would have thought.
[00:37:28] Speaker A: Yeah.
[00:37:29] Speaker C: Would work, and I think those. That can be a great starting point.
I think it's really great to start a scheme with. With one piece, and sometimes if I'm struggling, I will.
I mean, there are so many wonderful new contemporary rugs, but also, you know, antiques. And I think finding a. Finding an amazing rug can be the best starting point.
[00:37:51] Speaker A: So start with a rug.
[00:37:52] Speaker D: Yeah, start with a rug or start with a painting.
[00:37:55] Speaker C: Start with a rug or start with a painting. Yeah.
[00:37:57] Speaker B: You've touched on places in London, but what about places abroad? Are there any particular countries or cities that inspire you?
[00:38:04] Speaker C: I mean, I don't think it's any, you know, one.
One city or place in particular. I mean, I'm a huge fan of having a mental break from London, and I think the change of scenery is just.
It's just so brilliant.
So really, wherever you go and I think, you know, in the last year, if, you know, the, the architecture that I've seen in kind of Tangier and Sintra and New York and, you know, all of those completely different places has just made me, you know, think. Think of doing things in a different way. Whether it's the, you know, the carving or the tiles or the.
It's just. It's just a difference.
[00:38:51] Speaker A: Yeah.
[00:38:51] Speaker C: You know, you're seeing things every day here and you stop and you, you know, to a point of looking earlier, and it can. You can stop looking and then you see something different and it kind of reignites you again. So it's just good to. And it doesn't have to be abroad, of course. It can be.
It can be anywhere. Yeah, it can be. You know, there's so many wonderful cities in this country that we should definitely go to.
[00:39:15] Speaker A: More Romanos, you think?
[00:39:19] Speaker D: I mean, I completely agree with Venetia. I spend quite a lot of time by Palm Beach. I always find that incredibly inspiring, especially the sort of older part on the ocean and incredible antiques, incredible art galleries and just incredible interiors there.
But, yes, I completely agree with Venetia. You know, every sort of excursion, holiday day out, you know, I'm sort of always living and breathing and sort of feeling really inspired.
[00:39:53] Speaker A: Sounds like it's the career for you two.
[00:39:56] Speaker C: No, if you're very lucky.
[00:39:58] Speaker D: I feel very lucky.
[00:39:59] Speaker C: Thinking forgave. So.
[00:40:01] Speaker B: Well, I just remains for me then to say thank you so much. Romance and Venetia, what an amazing conversation that's been.
[00:40:06] Speaker D: That's very cunning. I would love to do it again.
[00:40:09] Speaker C: Thank you.
[00:40:10] Speaker A: And we do hope you've enjoyed this episode and please do get in touch on our social channels. Nterior Design BusinessPod to share any feedback. Thank you to our series partner, Natural Mat. And the interior design business is a Wildwood plus production. Thank you.
