I think it would have to be my sofa. It’s a classic Ligne Roset Togo sofa by Michel Ducaroy. I bought it during my second year in London, when I was earning about £10,000 – I was making no money whatsoever! One day, I was commissioned for quite a good job and I remember running straight out to Ligne Roset because they were having a sale and I bought it. I’d wanted it since I was about six years old. My mum had one in her hair salon waiting room and I’d had always wanted it for myself. So as soon as I was able to afford it, it was mine. My pride and joy!
I don’t really believe in replacing furniture very often. I believe in waiting a long time, really knowing that you want something, and then buying it. I bought it in 2009. I guess it’s been a while already.
I keep everything in the same place. I design the layout in advance and plan ahead. I’m generally happy with the way it is so don’t tend to move things around afterwards.
It would have to be a Japanese hanging basket that was hand–woven with copper. It’s an old traditional technique and you can store fruit or whatever in there. It’s really quite special.
No, I didn’t, funnily enough. I bought it in Canada if that makes any sense! It was a shop owned by a Japanese couple and they were selling some pretty unique items.
No, I don’t have a bedside table! I use a chair…
Just a lamp, I don’t keep anything else on it.
It’s an old wooden one.
The lamp is an anglepoise lamp – it’s actually an old one I found at a market stall and I think I paid around £2 for it.
There are just three of us, sometimes four.
That’s a good question actually. Our studio is so small that we don’t get to hold on to that many things unfortunately. I guess it would have to be the table we work on – it’s a giant space big enough for six people. We have plenty of room for all of our sketches so it’s good in that respect. It’s a nice upgrade to the studio.
I designed it. It’s a giant wooden baton table with a really nice top surface to work on.
Yeah, everybody’s on the same table.
It was a couple of months ago. It’s my favourite thing because it’s practical, stable and sturdy and it’s not just a piece of plywood with trestles under it like we used to have.
There’s a lot of furniture but unfortunately I can’t tell you exactly who for until it’s out. I’m designing a collection of furniture for a Chinese company that’s working with quite a lot of European designers, which is nice because it’s catering solely to the Chinese market. It’s a pretty interesting direction. I’m also working on a collection of rugs for a company here in the UK and some furniture for an art gallery in Rome. I’m also doing quite a few private lighting commissions. We also finished the interiors for Aesop’s London headquarters in a warehouse in Bloomsbury just recently.
Yes, the final result is being photographed as we speak. There are quite a few other bits and bobs going on as well but I can’t reveal anything more at the moment.
It’s a bit difficult right now, to be honest. We’re all a bit overworked at the moment but that’s the way it goes unfortunately when you have a small business and you have to do a lot of it yourself. It’s constant work and thinking all of the time. I also travel a lot, which isn’t easy. I’ve just come back from a workshop where I was making things with a chainsaw in the woods, that was fun! And next I’m going to France to Boisbuchet to give a workshop about glass and ceramics. So that’s a lot of time spent away from the studio and, yes, it’s difficult to keep up.
We’re very lucky, things are really quite good. We’re able to survive and live well, which is difficult enough for a design studio as it is, so it’s great.
I’m finishing my last year at the Royal College. My students set up their grad show this summer.
Yes. It’s only one day a week but that day becomes a huge responsibility so no more teaching for me unfortunately.
I’m really happy with the period I spent there and I think it was just the right amount of time while I was still excited and liking it.
Yeah, it’s a good thing.