EDI T IO N N U M B ER 01
PAPER THE M A RCH & W H I T E
E L EG A NCE W I T H A N E DGE
P U BLIS H ED IN L O N D O N & N E W YO R K
2016
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The March & White Paper is published occasionally but not, necessarily, regularly. All content is the intellectual property of the publisher. No content is to be reproduced without the written permission of March & White. We are always happy to receive material for inclusion. We, however, cannot be responsible for any original material and will not return any pieces.
CONTENTS
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04 T H E M A RCH & W H I T E PA PE R
08 E L EGA NCE W I T H A N E DGE / SI M PL E BE L I E FS
12 JA M E S W H I T E & E L L IOT M A RCH
16 STOR I E S OF CR E AT I V I T Y 18 DE VONS H I R E C LU B 52 T H R E E YAC H T S T H R E E ST OR I E S 64 ROYA LT Y M E WS 76 GR I DI RON
84 NAT T I E R
88 CONSPI R ATOR S I N T H E ACT OF E L EGA NCE W I T H A N E DGE
94 U N DE R STA N DI NG E L EGA NCE
120 London Studio 162 Buckingham Palace Rd London, SW1W 9TR
Creative Director and Editor in Chief: Graham Erickson Design: Wiedemann Lampe Print: Mortons Media Group Ltd Photography: Leon Chew & Michele Cote except where stated
New York Studio 54 Thompson Street 3rd Floor New York, 10012
OU TSI DE I N T E R F E R E NCE
A P OLI T E IN T R O D U C T IO N
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THE M A RCH & W HITE PA PER Good manners come free. Etiquette is tied in with elegance. Elegance with an edge is our medium.
We decided to create and produce the Paper for a number of reasons. Somebody suggested that we needed an elevator pitch. This we thought about for a long time.
We are frequently invited to comment in the media about design, creativity and related issues. It is very flattering and enjoyable to do so.
What we do is complex, nuanced and emotionally driven. To boil it all down to a few lines seemed counter intuitive.
Our own publication means though that we get to write the brief that we respond to. Selfish? Maybe, but delightful certainly.
We are not compelled to do what is considered the norm. In fact we are instinctively drawn to explore the other, more oblique, routes and choices.
Another reason was to inform each other, and the other members of our team, what March & White are about. We have studios in London and New York. Our people work between studios so communication is vital. We, of course, embrace technology and the precise purpose it enables.
The March & White Paper is, therefore, our idea of an elevator pitch. It is also an entry to our own creative zones. Our clients, and the people we work with, are important to us. If not a family then, certainly, a very strong bunch of friends. We wanted a means to talk about things that inspire us. This can be related to the work we do or a personal sentiment. Reading it now it is clear how the lines between what we personally like and what we endorse and curate for our work are non existent.
We also, though, revere the timeless appeal of printed paper. Maybe we don’t need to explain. It is, after all, our own paper. Good manners come free. Etiquette is tied in with elegance. Elegance with an edge is our medium. Maybe that slender line is, after all, our elevator pitch. ELLIOT & JAMES
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SIM PL E B ELIEF S
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ELEGA NCE W ITH A N EDGE
IN TEL LIGEN T CR E ATI V IT Y
The creative tension of Studios in London and New York. Travel and culture are a constant inspiration. Conventional elegance is too easy. The edge makes it unique. The edge comes from supreme creative confidence. It is the subtle and unexpected that exalts what we do.
The theory of magic and logic. Instinctive creativity is aligned with responsible and expert commercial purpose. Our architectural background brings the efficiency, rationale and structure that enables a precise balance.
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SIM PL E B ELIEF S
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STORY TELLING THROUGH DESIGN
IT IS TH AT SIMPLE
Everything we design, curate and compose is a meticulous response to our clients’ desire. To call them projects is short of the mark. They are stories. The client is always a central character. The stories are a commitment to the very finest materials and craftspeople. They explore the notion of elegance and timeless style. The result is always unique in the absolute sense of the word. It is also always aesthetic beauty uncompromised.
The stories use architecture and interior design as a starting point. To date, the conclusions have been exquisite private residences, privileged members’ clubs, super-yachts and beguilingly beautiful hotels. All very different but connected by the distinctive presence of elegance with an edge. The wide sweep of discipline comes from the powerful creative wanderlust of March & White.
A S IN DIVID UAL S
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“I have a creative curiosity to explore beyond the boundaries of architecture and interior design.�
ELLIOT
I am an architect. I have worked with, and learned from, some of the world’s great practices. I now apply this learning through other creative disciplines. This connects my work to a complex frame of reference and influence. This leads to unexpected junctions and direction. This, for me, is the intrigue and excitement of design. To create is more than a passion for me, it always has been. It is instinctive default. I am fascinated by the process that turns a vague, abstract idea into a tangible tactile object or place that is effective, functional and beautiful. A luxury. For me the creative pursuit is not divided into design and manufacture. It is a single, organic process. Always. Whether the project is architectural, interior design, a super-yacht or a single, simple chair. It starts with an idea. The process then evolves and shapes the idea with intellect and intuitive reason. I am a committed believer in collaboration. I always learn from our work. My obsessive appreciation of craft and materiality makes it a privilege to work closely with some amazing artists and specialist craftspeople.
I have a creative curiosity to explore beyond the boundaries of architecture and interior design. As a lifelong passionate sailor, this instinct enabled me to realize a longstanding dream to design the interiors of iconic super-yachts. A deep understanding and love of the water intuitively informs our maritime work. Designing interiors which respond to the elemental qualities of the ocean: colour, movement and light, is a thrill to me. The ocean is a constant muse and a place where I can disconnect. I enjoy capturing its momentary, fleeting qualities through painting and photography. A part of this connection is a huge respect from an environmental perspective. This also resonates with my belief, as a designer, that responsibility and integrity are vital elements of contemporary luxury. I always appreciate my privilege to be committed to a professional pursuit which constantly intrigues, provokes, evolves and realizes my creative instinct.
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“I treasure objects which increase in allure as they age. The patina on a piece of timber or leather as it evolves. These are nuances which enrich everything I am drawn to.�
JA MES
My training and qualifications are as an architect. It is only a single element, though, to the wide creative horizon I follow in my work. It brings a logic and objectivity to my process. As far back as I can remember, I was fascinated by the appearance of places and objects. I was committed to aesthetics before I knew of the word, I suppose. My work is a response to this innate desire for crafted and luxurious beauty. Beyond simply being pleased by the visual and tactile quality, I am intrigued by the psychology of luxury and beauty. I find inspiration in film, art, fashion and history. Sometimes this is deliberate and concise. Sometimes it is subconscious and abstract. I enjoy seeing these influences distilled and cross pollinated in the work we, Elliot and I, create with March & White. Our work brings us in very close, collaborative proximity with our clients. Learning how they live, work and enjoy their lives informs the work that we create for them. It is a very enriching exchange that informs more than just the specific project.
I love art and, in particular, abstract painting both as an admirer and as a practitioner. I occasionally design using paint, brush and canvas. Idiosyncratic perhaps but it feels absolutely natural as a medium. It feels very March & White. On reflection I can see a painterly, subtle layering of tone and texture in our work. I treasure objects which increase in allure as they age. The patina on a piece of timber or leather as it evolves. These are nuances which enrich everything I am drawn to. My tastes have always ignored the annotation of time. I am drawn to a very specific idea of understated, quiet and intriguing elegance. I can find this in something entirely contemporary or, equally, something of greater age. A reverence for meticulous detailing is present in both my personal, and professional, expression. There is not really though, a division between work and play. To be a great designer is to feed from every experience and engagement. It is life lived as creative field research.
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A story can be any length. Hemingway did a very effective six word story. Tolstoy pushed the other way. Both are of equal value. Our work is not rated in creative value in accordance with scale.
STOR IES OF
CR E ATI V IT Y Let us explain. If details are not important then we will politely decline any involvement.
equal value. Our work is not rated in creative value in accordance with scale.
We had long discussions over how to term our work. We definitely didn’t feel the word “project” acknowledged the emotional input, the complexity, the nuance and the creative expanse.
A story can be simple or elaborately layered. A story, short or long, must have an emotional and intellectual purpose or reason.
We liked the word “journey” but it became a casualty of over use by a lazy media.
Drama, the control of tension, suspense and sentiment are critical elements of a story, as they are with the work we create.
So we explored the use of the word “story” and decided it fitted. There is a vast diversity to what we create.
Somebody we discussed this matter with said it was only a minor detail and that it was not worth worrying about.
It may be a single piece of furniture or very significantly scaled architectural work.
As oxymorons go, a minor detail is pretty hard to beat in our book. In our story.
A story can be any length. Hemingway did a very effective six word story. Tolstoy pushed the other way. Both are of
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A (very recent) story
DEVONSHIR E CLU B IN A THOUSA N D WOR DS (A PPROX I M AT ELY )
Typically for the pair, when commissioned to create Devonshire Club in the heart of The City of London, they eschewed the clichés of masculinity that are almost mandatory in the culture of private members’ clubs. Opting instead for a confident, feminine and creative muse, they have composed a place that feels invigorating, exciting and effortlessly chic. Not terms typically used to describe private members’ establishments in the very heart of the financial square mile. This, then, is how March & White subvert, provoke and challenge. With charm, precise verve and an understanding, respect and desire for intelligent luxury.
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Our instinct for Devonshire Club was to create an elegant and iconic destination for London’s city eminence. We felt drawn to creating a place that moved with a nonchalant verve as opposed to a masculine gait. We always knew who our muse was. She, and it was definitely a she, was cool, confident and effortlessly stylish. The early mood research channelled a very fresh European aesthetic. We looked to classic cinema and fashion from the fifties and sixties. This became distilled with something entirely contemporary. Elsewhere in this Paper there is a piece about Nattier. A heritage couture fabric house. A revered name in Italian sartorial circles. The house, and its archive of exquisite designs, became a vital element in the palette. Inspired, perhaps, by the couture influence, everything in the Club is bespoke. Unique to Devonshire Club. This, we reasoned, is what our muse would expect of her favourite place. The story is always about balance. The place intrigues with subtle gestures of a very urbane and erudite masculinity. It, in very simple terms, feels very different to the lazy notion of a private members’ club in London’s Square Mile. It attracts, accordingly, a delightfully different member. It is a place that speaks of confidence and the reluctance to play by conformity. This subtle game of provocation was encouraged and catalysed by Brian Clivaz, the client. Something of a legendary London figure. Everything that was ever said about Brian is worth considering. A man drawn away form the mainstream and the everyday. The intoxicating moments of gorgeous, capricious fun are testimony to him and a very well developed idea of mischief. Distilling inspiration from both mid-century modern design and couture, we created a series of distinctive spaces. These, each very individual, are separate but still subtly connected in series, resulting in an intriguing journey from the moment of entering the Club. The mood is one of glamour and elegance with a vibrant, and very contemporary, undercurrent. Our take on the primary colour palette is visible through our selection of fabrics and finishes, creating a unique interpretation of the Mondrian palette. It was important that the interiors tell a story. We imagined she might fly in on her private jet for a meeting in the City. A glass of champagne at the Club. Timelessly glamorous. We obsessed over the details. Would she sit in that chair? Would she use that handle? We applied Kubrick levels of attention to ensure the design would satisfy, and surpass, her understanding of glamour and style – the essence of the Devonshire Club woman! Particular materials, furniture, fittings
We assembled a cooler palette with darker oak, an abundance of feature stone, mirror and stained glass for the Ground Floor. These finishes evoke a mid-century erudite elegance. When progressing up to the first floor and bedroom levels, the base changes to a warmer palette of teak and golden walnut. This subtly intensifies the mid-century feel. The mood of the spaces, embellished with exquisite antique mirror, cut and bevelled with a jewellers precision, shifts and responds alluringly and seductively to sublime light to conjure the perfect evening atmosphere.
M A IN E N T R A N CE H ALL AT T H E D E VO N S HIRE CL U B
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We studied, closely, the instinctive elegance of Italian design heritage. Gio Ponti’s breathtaking pattern work, the purity of Carlo Scapa’s detailing and the beautiful intricate moulded ceilings of Milan’s Villa Necchi. These timeless signifiers of sophisticated elegance inspired us as we composed a place which is entirely unique and fresh. The ability to reference design history without nostalgia is a rare skill. Devonshire Club is our proud demonstration of our mastery of it. At March & White we always work with the best craftsmen using the very finest authentic materials. Furnitureworks are Sussex based craft furniture makers with a reputation for producing the very highest quality upholstery. Working closely with them, we were able to interpret the organic curves and forms of mid-century style into our own, absolutely contemporary furniture. The inspiration of Ico Parisi and Finn Juhl is subtly, delightfully present. Sartorial heritage and haute couture were powerful influences in our design. We researched, obsessively, Chanel’s gift with woven fabric and tailored structure. The inventive and radical print work of Lucienne Day and Jacqueline Groag inspired feature walls, marquetry and headboards. The commitment to bespoke craft throughout the Club makes it truly unique and defines the March & White signature. Significant to this integrity and authenticity, we worked closely with Nattier, the Italian textile design house synonomous with the Golden Age of European couture throughout the sixties. Granted very privileged creative access, we developed their iconic archived designed into gorgeous rugs, fabrics and wall coverings. We selected threads for the fabrics. Beautiful wool and polished cotton for the rugs. A hands-on process, involving exhaustive rounds of sampling and amendments to create the perfect pattern, scale and colouring fitting for Devonshire Club. The Objective
To create a significant and very valuable piece of art is to meet some formidable challenges. Devonshire Club was no exception to the theory. A private members’ club has a peculiarly complex purpose. Add to this 70 hotel suites above for the use of members. This requires precise logic and strategy. Aesthetically, each room, each space of the Club, needs to have a sense of the unique whilst being an episode in a larger, entire, piece. Thankfully, there is something in a creative intellect that makes the challenges fade. The thrill of seeing, and experiencing, the result of the process, any challenges seem unimportant. To fixate on the challenges seems a little graceless. The opportunity to create an uncompromised work of stylish, timeless elegance is a privilege. The value of an imaginary muse is the fear of letting her down. We think our girl of Devonshire Club would absolutely approve of what we have created.
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IT IS WHEN VIEWED CLOSELY THAT OUR PRODUCTION VALUES REVEAL.
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THE CHARM, THE ALLURE OF THE UNIQUE, IS A TIMELESS JOY.
THE WORLD OUTSIDE, THE WORLD INSIDE. THE DIVISION IS A DISCRETE REWARD.
WE READ, AND COMPREHENDED, DA VINCI’S IDEA THAT SIMPLICITY IS THE ULTIMATE SOPHISTICATION.
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A SOFT STUN. THE PLEASURE OF GENTLE INTOXICATION OF COLOUR AND TEXTURE.
POSSIBLY THE MOST BEAUTIFUL PLACE IN THE CITY OF LONDON TO GET DELIGHTFULLY LOST IN!
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INTERIOR DESIGN IS A COMPLEX STORY. ITS QUIET MOMENTS ARE AS POWERFUL AS THE PASSAGES OF OVERLOAD AND AWE. ANON.
D E VO N S HIRE CL U B
WHAT CAN I GET YOU?
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IT IS AKIN TO COMPOSITION. A SINGLE NOTE MUST HAVE BEAUTY IN ISOLATION. AS PART OF A SYMPHONIC ARRANGEMENT IT BECOMES SOMETHING ALTOGETHER MORE SPECIAL.
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HIDDEN TREASURE
Spring 2016 and the Famous Four, Brian and Harry (clients), Susie and Harriet (March and White FF&E Director and Lead Designer), are off to the seaside for the day to inspect the upholstered furniture prototypes for Devonshire Club. Three of the team meet at Victoria Station under the Big Clock for an early start, eagerly looking forward to seeing the furniture prototypes and taking in some sea air. Susie will be collecting them from the station in her compact car as she lives nearer the coast than London. Months of presentations, reviews and revisions to achieve the perfect selection for comfort, purpose and design aesthetics and now finally prototypes are ready and the excitement is building. The travellers arrive, hugs and kisses all round and squeeze into Susie’s car, then off to a less than glamorous industrial site where our furniture manufacturer is based. Greeted by the owner, 2nd generation master upholsterer, we begin the tour of the workshop and look around the showroom at samples of furniture – not our prototypes but it is always good to see examples of the finish and workmanship. In a corner we spy a very sad little chair, very old, probably Victorian, with a broken leg, shiny aged fabric that’s torn and frayed with its stuffing peeping out, looking rather like a discarded, once treasured, teddy with its head flopping on one side and one eye missing. One by one we fall in love with this little chair and realise that its beautiful original form and shape, reminiscent of petals or leaf shapes, would be perfect for our Garden Room at the Club. The inspiration for the Garden Room was to bring the outside garden in and for it to be predominantly green with Pops of Colour. Our Muse was Barbara Cartland, the effervescent and vivacious celebrity author known for her love of flowers and vivid PINK. Our little Leaf Chair would be a perfect addition in green velvet adding an element of fun, found and history to the room and a perfect foil for the plants, fuchsia pink chairs and floral cushions that add to the atmosphere of the room. The sad little antique chair was an inspiration and has been beautifully replicated and become The Favourite Chair of Devonshire Club, sitting proud and perfect, it is the star of the show.
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We find elegance with an edge outside of what we create. It exists, it always existed, and we have long, evergrowing lists of what defines it for us. The exquisite 1965 Bentley Continental Silver Spur owned by Keith Richards is a beautiful definition. Very rare, there were less than ninety of the model produced. Keith took delivery of his as a very young man with the world at his immaculately shod feet. The car would be his chariot throughout his prime years. He christened his elegant ride “Blue Lena” in reference to the deeper than the night blue it was finished in. The Lena is his nod to jazz singer Lena Horne. The car was a statement of dark sensuality. On taking delivery of the vehicle he had several secret compartments crafted into the interior. This is a man who greatly valued secret compartments. He said of his beloved machine “It is a car that was built to be driven very fast very late at night.” For the next fifteen years this is exactly how he honoured the car. Taking the occasional knock, the calfskin interior taking the odd injury, the car nevertheless aged with exquisite grace. Call it breeding if you like. It is not known who purchased the car when Bonhams recently sold it. We can be sure its life is less eventful than the chapter it shared with rock and roll’s pirate King. So, Keith as a role model for (disheveled) elegance? Well, at around the same time Keith’s other beloved mode of transport was a gorgeous Riva speedboat. This, again, was discreetly equipped with secret compartments. This was how he lived. Holed up in the beautifully faded opulence of Nelcote in the South of France. A disgraceful King of all he surveyed. Elegance? Certainly. With an edge? We wouldn’t argue.
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Another story / A collection of short stories
THR EE
YACHTS THR EE
STOR IES Words: Elliot March, NY 2016
The fascination with luxury intensifies with super-yacht design. It has become a contemporary myth and a cultural enigma. Whenever we are interviewed about our work we will, inevitably, be asked who the owner is, what does it cost, how do these people live, what materials do we use and so on. The social perspective, and the questions connected with that aspect, means little to us. We don’t discuss it. Why would we? It amazes us that it remains a preoccupation with people. To me it is the tradition of commissioned beauty. It has always existed. Some, indeed most of, the significant cultural landmarks in painting, sculpture, architecture and classical music were the result of commercial commission. What is critical to us is the notion of elegance instilled within an object; how was it constructed, was it crafted with integrity and passion, did we work with the right artisan to interpret our vision, does it exceed its purpose, does the client like it? A super-yacht is a pure collaborative expression. Like a bespoke piece of clothing, a house, a car or a piece of furniture. Of course there are different budgets involved, different design parameters, regulations to fulfil and wildly different functions. Beyond all of these factors elegance must govern. Always.
The clients we work with are varied, independent, unique, global thinkers. Most are, in some way, maverick characters. Their material worth has been earned in many different ways. Some through the traditional route of a lifetime’s hard work in building a business. Some achieved it immensely quickly as the result of a groundbreaking idea that reached billions. Some, of course, inherit and manage a legacy. To all of them the super-yacht ultimately becomes an expression of a personal story to be shared with friends and family. March & White always start with the clients’ ‘story’. This we explore, extract, enhance, play with and distil into a unique and complex narrative that becomes the DNA of the design, informing almost everything we create. That story or narrative should always sit elegantly within the March & White framework, or clothes horse as we like to describe it. Our signature is to visualize and interpret that narrative through curation. In the pursuit of the unique, some of these are created from scratch. We think of ourselves as alchemists in this field, concocting the perfect balance of materiality and story into a single beautiful expression. Discretion and privacy is something we protect without compromise. We cannot publish the majority of our projects. For that reason I have selected 3 different materials from our current work. They are vastly different in their tactility, colour and origin. They are all, however, elements in the story.
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01
A simple, humble and beautiful piece of wood. I say simple, but it happens to be a 150 year old piece of barn wood sourced from a region of Canada. Our client wanted to tell the story of their family, their roots and childhood memories. The piece of wood held vast emotional significance. We spent a long time carefully examining and selecting pieces that could be re-used into the interior. As designers who are passionate about material it was almost overwhelming to be allowed such privileged access. We collaborated with Barn in the
City, who were able to take the raw timber and carefully restore it through a number of organic processes. A range of different finishing treatments and coatings are applied to the restored surface. These vary from simple colour dye to a metallization within the grain that enhances the original and transforms it into an elegant and new material that sits beautifully within its space. It complements other materials but definitely possesses its own deep intrigue. A very beautiful star of the show.
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Like a Michelin starred chef, working at the cutting edge of luxury design affords us no respite; innovation, experimentation and a commitment to taking risks is where we believe elegant design happens.
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My second choice is a poured resin by our friends at Based Upon. With our client we were aiming to capture the fleeting, momentary and singular beauty of the sea. We wanted the endlessly changing and nuanced colour that occurs in the water throughout the seasons and times of day. We approached this piece as an artist would a work in oil. The resin enabled the freedom to experiment using an array of different pigments to build up our own unique impression on our canvas. We also needed a material that could be precisely cast into a three dimensional moulding that would ultimately wrap elements of the interior and form functional furniture pieces. The result
of the collaboration fulfilled both of these objectives and went beyond what any of us could have imagined. This story perfectly demonstrates what is great about collaboration. The result is something that could not have happened without the full commitment of all parties. Collaboration is a place where two plus two can make a lot more than four. Nothing opens up creative ground like collaboration.
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It is not an obvious signifier of status. It is, though, very beautiful. It is also incredibly durable. Its provenance and production are responsible and sustainable. It is a very intelligent gesture of luxury.
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To conclude this for now, I have chosen an unusual material which looks rather like broken coconut shells. It’s a deeply fascinating and very beautiful finish and is a great example of trying, wherever possible, to engage with the local community to manufacture authentic artisan and sustainable finishes. Our client shared this belief. For this yacht we committed to using local craftsmen wherever possible. We also collaborated on this finish with some very gifted friends in Columbia. The finish is in fact eggshells which have been naturally broken by the hens and then meticulously sorted and selected by hand to find the perfect assortment across a panel. The shells are then backed, coloured and glazed and formed into panels that are used to clad different surfaces.
The result is not only aesthetically exquisite but offers an interesting comment on the modern idea of luxury. As a material it is certainly not ostentatious. It is not an obvious signifier of status. It is, though, very beautiful. It is also incredibly durable. Its provenance and production are responsible and sustainable. It is a very intelligent gesture of luxury. The artists belief is that to create true elegance one must be willing to take risks that often result in the unexpected. Elliot.
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IN A STORY
CON TEX T IS EV ERY THING
COMPUTER GENERATED IMAGE OF TOP GUN
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A third story
ROYA LT Y MEWS Every story is special. Scale, as we have mentioned, is not always significant. Soho holds an enduring intrigue for us. A residential development in Soho got us hooked.
Royalty Mews is concise to say the least. A very well hidden mews just off the hustle and theatre of Dean Street. Four very cool loft apartments. The mood was of glamourous rock and roll decadence. It was where we coined the term “Elegance with an Edge�. We creatively explored the notion of a place that transforms character as night falls. Royalty Mews was also the first time we creatively directed the entire production. This included the design and production of a beautiful book and website. Exceeding the industry standards, the print piece evolved into an expansive study of Soho and its complex cultural character. The book included pieces on the artist Adam Dant, who was a collaborator on the story. The book was ambitiously and beautifully shot by fashion photographer Michele Cote.
Such a creative exploration is only possible with a very confident and creative client. Met Projects certainly tick that box. Michael Jacobs and Danny Kessler got on board with the notion of doing something that challenged a lot of the conventions of property developing. It made for a very inspiring creative experience as a design studio. A lot of our work occurs over such a long period of time. The relative pace of Royalty Mews added a jolt of rock and roll tempo to the exercise. By the time this piece is printed Royalty Mews will be completed. It will, most likely, be four homes to very lucky individuals. It will be the setting for a whole life of stories. Looking at Dean Street you would never know that. The veil of secrecy is another enduring love of ours. The images here are loose and abstract. A mixture of mood, inspiration and creative intent. Slightly confused and, therefore, entirely appropriate for fast times in Soho.
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R OYALT Y M E W S
When the Sun goes down, you’re in the dark and a blanket of a new feeling comes over you... and that new feeling is magical. DAV I D LY NCH
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I am a man of wealth and taste.” JAG GE R / R ICH A R DS
“Please allow me to introduce myself.
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N E W YO R K, 01:23 A M
NEW YORK STUDIO
LONDON STUDIO
54 THOMPSON STREE T, 3RD FLO OR NEW YORK, 10012
162 BUCKINGHAM PAL ACE RD LONDON, SW1W 9TR
NYC
LDN
L O N D O N, 06:23 A M
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An ongoing story
GR IDIRON, K INGS CROSS March & White design within a David Chipperfield Building. The story, the space, is a masterclass in how to distill the comfort and effortless panache of very beautiful residential design, with the cool functionality and precise purpose of the very contemporary workspace.
March & White cast their instinct for contemporary elegance on the creative workspace. Defining, perfectly, the modern ideal of a place of work. Informal, effortlessly stylish and unashamedly cool. As with all of the stories created by Elliot and James there is, of course, balance. The languid grace of the space is aligned to a very precise efficiency. This is a space that functions as beautifully as it looks and feels. A sublime palette of materials, finishes and pieces appears to have been curated for tone, texture and aesthetic quality only. This, however, is a specification which is durable, pragmatic and very hard working.
It is a gift of March & White to offer an elegance which makes very good sense. Contained within a very beautiful David Chipperfield building in the fascinating heart of Kings Cross. The only downside of such stories is that not everybody is fortunate to work in such an exquisite environment.
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NATTIER A story within a story
A chance meeting. An elusive muse for a very important story. Whist waiting at JFK for a delayed f light back to London Elliot and James made light conversation with fellow passenger Cristina Azario who just happened to be a very eminent designer and who’s parents had founded the luxury heritage brand Nattier in the 1960’s. By the end of the trip Elliot & James were in possession of an archival book on Nattier. Very quickly they were both deeply in thrall to this delightful creative textile house. They had also found the missing element of inspiration for the Devonshire Club and struck up a creative collaboration with Cristina. The book was brought into the March & White London studio where it was pored over and adored by everybody. A dialogue began with the house. A visit to their archive in the V&A was quickly arranged. A section of exquisite designs were then dramatically interpreted into a very twenty-first century statement of contemporary couture. Their impulsive, joyous use of colour became even more seductive when aligned to the precise judgement of March & White.
These stories have no end. We liken the episode to a very beautiful creature of heritage having taken graceful repose. Awakened, its energy and allure is more powerful than ever. March & White made a commitment to the love affair. The results will, undoubtedly, be irresistible. The new era of Nattier has, clearly, had a beautiful effect on March & White. A tantalising horizon of products and stories are in development. For now, we have the almost overwhelming delight of Nattier in the very modern idea of sophisticated privilege that is The Devonshire Club. As with many of life’s sensory pleasures it is impossible to relay, via the printed word, the fragrant effervescence of the place. Even the gorgeous photography of Leon Chew fails to do the place full justice. The best way to truly understand, and appreciate, the contemporary appeal of Nattier is to visit, order a perfectly prepared drink and sit amongst this living celebration of the joy of colour and insouciant creativity.
BRENDA AZARIO IN FRENCH VOUGE 1966, NATTIER FABRIC
‘TODAY, WE EXPERIMENT WITH A LIMITLESS PALETTE; COLOURS BOLD OR SUBTLE, TEXTURES RAW OR REFINED, AND FINISHES SOFT AND LUSTROUS’ CRISTINA AZARIO NATTIER 2016
‘NATTIER FABRICS WERE PHOTOGENIC AND STOOD OUT, YOU COULDN’T MISS THEM. DURING SOME SEASONS WE WOULD HAVE MORE THAN 70 PAGES OF EDITORIAL IN A SINGLE MAGAZINE’ BRENDA AZARIO SPEAKING AT THE V&A LONDON, 1981
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“We cannot do it alone. The curation is us. We don’t consider it a task but more of a high privilege. The creative thrill of collaboration is the perpetual exploration of the unpredictable”
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CONSPIR ATOR S I N T H E ACT OF
ELEGA NCE W ITH AN EDGE
We choose to work with people who share our values. This doesn’t mean they never disagree with us. This is not viewed as a problem, but as a sign that they consider their art, craft or trade as critical. Collaboration is, was and always will be a vital part of March & White. Our friends Helen Amy Murray and Based Upon are two of our favourite, regular collaborative partners. Both operate at a blurred zone where art meets design. Both continue to intrigue us with their human, unpredictable and instinctive explorations into beauty and luxury. Both also continually delight us with the sublime work that results from their pursuit. Rather than get them to talk about their specific work we reasoned it would be interesting to discuss the notion
of contemporary elegance and luxury. Getting very busy people together is not simple. Travel demands, time zones and deadlines scramble the signal. The chat took place over several sessions. They were conducted over Skype, email and face to face. This, occasionally, makes the dialogue slightly fractured. All involved parties are inherently creative. This also makes the conversation drift with oblique logic. This, along with the observation that there are a lot of ideas and questions and not a lot of concise answers is not, to us, a negative. March & White is a house where ideas and questions are valued highly.
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HELEN AMY M U R R AY Helen Amy Murray takes a very different path on the pursuit. Her work blurs the line between art and design to the absolute logical conclusion. What she does is as connected to traditional craft as it is to the form of contemporary couture. Painstakingly human as a discipline, her work is the result of a fraught and, occasionally dangerous, ritual. The fundamental tool of her art is a very sharp surgical scalpel. Like Ian, Helen does not create alone. Her studio is feminine and subtly bohemian. It is as different to the factory of Based Upon as Helen is to Ian. How does Helen describe elegance?
H EL E N A M Y M U R R AY P H O T O G R A P H ED IN H ER S T U DIO IN E A S T L O N D O N
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BA SED U PON Ian Abell is a part of Based Upon. He is not Based Upon. He is a piece of it. A tribesperson. Anybody on board with March & White’s idea of elegance is familiar with the art of Based Upon. They may not know it but they are. Examples, glimpses of what they create, are dotted through this book. Ian is perhaps the dictionary definition of the word quixotic. Flawed but driven by a pure objective. The work they create is a little like that. It is unpredictable and complex. It draws you in. Resistance, for those who follow the same star, is futile. What is Ian’s take on elegance?
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ELEGA NCE What does it mean? It is one of those words that gets casually thrown around. We say, as a word, it should be used only by those who understand it. There is no convention on the subject. What is elegant to one person is clumsy to another. You bet it’s complex. As a conversation or a story, this one really has no conclusion. Just when you think you have a handle on defining elegance, along comes somebody, or something, which effortlessly rewrites the whole book on it. To keep the conversational ball in the air we turned the questions on ourselves. What do we think of its meaning? Frustrating but we wouldn’t really want it any other way.
T H E M A R C H & W HI T E PA P ER
U N D ER S TA N DIN G EL EG A N CE A N D L U X U RY
Who, living or dead, defines timeless elegance to you? David Bowie, it’s an obvious one but he managed, over a HAM really long period, to keep it intact. Again, kind of obvious, but Kate Moss for largely the same reasons. I always remember those really early photos of her at Heathrow – she was just off a long flight wearing stripy knee socks, beaten up Adidas sneakers and no make up and looking just amazing. That’s what it’s about I think. James Hunt. No explanation needed. JW Karl Lagerfeld. How he lives, looks and works is simply EM otherworldly. He defines confidence and that is, I think, a big factor in elegance. I think it was Oscar Wilde who said that with confidence the ridiculous looks stylish and without confidence the stylish looks ridiculous. Quite extreme maybe but I get his point! Can a person learn, or acquire elegance? I want to say yes but I think there has to be an instinct to HAM be developed, worked with. I truly believe there are people who with the greatest stylist, and all of the money in the world, will never grasp the concept of elegance. Then there are those who dig potatoes out of the ground on an allotment and manage to move with total, absolute elegance. Figure it out! Yes, an elegant conversation can be inspired by JW a lifetime of experiences. Yes. I’ve witnessed it first hand. That person must, however, EM have the instinct somewhere in them. Sometimes it takes a form of effort to attain elegance. Like most things it is a precise balance. Languid and effortless looks elegant but laziness is never elegant. Is luxury acceptable? If so, how is it justified? Well, I think people confuse luxury with vulgarity HAM or ostentatious indulgence. Luxury is relative to a persons circumstance. I would say it is not just acceptable but necessary. The person who enjoys the luxury is justifying it by their pleasure. That has to be, surely, a fundamental of living. Yes. It is justified because it is complex to understand. JW It is not about money. It is increasingly about experience, emotion and memory. On one hand luxury can be very basic, it can be about being away from the world, close to nature, without the trappings of modern life. On the other it can be the most exquisite object invested with history and craft. I’ve always struggled with the term, it is very complex EM and means different things to different people. Luxury will always exist – there is no denying it. I don’t believe it needs any justification. As designers we have a responsibility to inform our clients, influence the form luxury takes and how it is displayed or worn. Would you sacrifice happiness for elegance? Never. I don’t actually think you could be elegant without HAM happiness. The two go hand in hand. Happy people, really happy
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ones, look elegant because of their joy. JW No. However some people cannot be happy without elegance. No. Happiness is the key to a life lived well. EM That, the happiness, the life lived well, is elegance itself. Would you sacrifice the happiness of somebody who depends on you for luxury? Again, no way. When you see someone who has obviously HAM done that they look miserable. When I say miserable I don’t mean sullen, sulky or brooding I mean just miserable. Protect your happiness and the happiness of those around you and you’re on your way to elegance is what I would say. No. Not at any cost. JW Never. Same reasons as above. EM
“On one hand luxury can be very basic, it can be about being away from the world, close to nature, without the trappings of modern life.”
Is luxury intelligent? Luxury is such a misused and maligned word. Now, more HAM than ever, luxury is very intelligent. When you look at outdated ideas of luxury you see, really, gluttony and trinkets. Nothing really clever there but a contemporary understanding of the word is, I think, really intelligent. It’s about quality, honesty and authenticity. Time is a luxury. Time to read a book, watch a film, look at art or just have a real conversation with somebody. Our lives are so fast now that these things are a luxury. They are also perfectly intelligent. Yes and to really understand and enjoy luxury JW requires intelligence. Immensely. As we comment on in our paper, luxury EM means different things to different people. Real luxury is a complex coded language that is constantly shifting and evolving as society adapts and moves forward. Fashion or style? Fashion interests me. It is a really fascinating cultural HAM gesture. I love to observe it and try to understand it. Some of it drips into what I do or what I think. Style, however, is the big one for me. Definitely. I certainly don’t buy, wear and discard in accordance with the dogma of fashion. This links to the other question about luxury being acceptable or intelligent. I like to buy and own things that last
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a long time. They take on meaning as they age. I love wearing a really old piece with something very fresh. This applies to the aesthetic of where I live – everything really. They say fashion is about being noticed where style is about being remembered. That’ll do for me! Style, it is elegance and balance. JW Style. Fashion is too transient. Style, if you think about EM it, is simply better value. More valuable. As creative people it is important that we observe fashion without necessarily buying into it. You’re all, approximately, the same age. How has the notion of elegance and luxury changed since you started your career, and how do you think it will exist in twenty years time, towards the conclusion of your career? I’ve certainly become more aware of it since I have HAM naturally positioned my work in that world due to the hand craftsmanship and time it takes but I’m not sure how to answer the question. As we all probably remember luxury seemed more obvious and literal fifteen years ago. I have to remember though, as we all should, that we were looking at luxury more as outsiders then. I certainly was! A lot happened. A loaf of very good quality artisan bread signifies luxury now which would have meant nothing when I started. The future is unwritten I guess. Hard to say where it will go. I think how we work, which is literally hand crafted, will always be appreciated and revered. I am really fortunate. I have confidence now in the value of what we create. How we work will, hopefully, not change radically in the next fifteen years but, as I say, who knows really. When we started we had the emergence of the luxury JW brand as the desirable luxury experience. The brands that had been experimenting and developing throughout the twentieth century became the prominent voices in luxury. Now we know luxury is about more than a brand experience. When we hit the scene, elegance was in short supply and EM the perception of luxury had become almost disgustingly ostentatious and vulgar. The dominance of the Candy’s throughout that era typified this “bling is king” attitude. As with everything transient, it had a short life span. What we are experiencing now is a shift towards purposeful stealth luxury. It is discrete and appropriate, almost apologetic and conscious. Meaning, time and thoughtfulness now become the drivers behind luxury and I believe we will see this continuing and assimilated with more technology in the future bringing both together in truly unexpected ways.
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I tend to get stuck on a detail in a film. The rest of the thing floats by and I leave the cinema with one tiny detail in my mind. I sometimes try to change that but, hey, we are what we are I suppose. ‘Midnight in Paris’ by Woody Allen. Cinema is a medium EM that captures elegance amazingly. There are lots of films that nail it but this is a good one to start with. Then again, Manhattan, again by Woody Allen, is breathtakingly elegant in its purest form. I haven’t watched it since I moved to New York so it would be interesting to see it again from this perspective. Is elegance over rated? Never. Ask yourself that question when you are in the HAM presence of real elegance and, suddenly, the question seems inane and pointless. If anything I think, in the world we live in, it is possibly underrated. I am not a sports fan but, occasionally, I catch something on TV or see a picture of a sportsperson in a magazine and they define elegance. It is such an infinite meaning to explore. My elegance is different to my mum’s understanding of it, which is different to your understanding of it. It is very, precisely individual. Maybe that gets close to defining the appeal of it – it is absolutely unique to the person who exudes it. Elegance is underrated, you can be elegant without JW style or luxury. The exact opposite – it’s not rated enough. Elegance EM informs everything that is made to last. Elegance simply makes most acts and events in life more memorable and special.
What film should a person watch to appreciate your interpretation of elegance? Really not sure as I can’t remember all the films I have HAM loved that would be appropriate! It might destroy any mystique I might have built up! A Single Man directed by Tom Ford is a good place to begin. Some might say obvious but maybe obvious for a reason. It is faultless. I watched it again recently and it still worked, it still looked exquisite. Grey Gardens, Paris is Burning, most Sofia Coppola things, there are so many. Again, going back to an earlier question – time is a luxury. In the perfect world I would have time to watch, and appreciate, more films. One day maybe. A possible downside of being creatively on duty is how you watch a film.
A strong current in what we do is travel. The people we work with also spend a lot of tim e in the air, getting ready to be in the air and recovering fro m transit. Tim e vaporises. The interview, the conversation about elegance and luxury was conducted across miles, oceans and tim ezones. Ian Abell see m ed to have disappeared. For a long tim e. We were closing up The Paper when his e mail ca m e in. His thoughts on the subject are vague, oblique and inco m plete. They are in a hand that is difficult to read. His sentim ents are, perhaps, even m ore difficult to process. His contribution requires a bit of work, so m e co m mitm ent and a dose of imagination. Quite fitting really.
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OBSCU R E OBJ ECTS OF DESIR E W O R D S: JA M E S W HI T E, L O N D O N 2016
At some point in any relationship with either, or both, of us somebody will inevitably comment on the colour blue. I had never really thought about it. Wasn’t really aware of it. Then I look at photographs of us, I look inside my wardrobe, or at my favourite pieces of art and, I suppose, there is a theme of colour! We both travel an awful lot. I’m not complaining you understand. It is yet to seem a chore. Anyway, we leave a place in a timezone and arrive in another. The diverse activities in a single day make it necessary to give thought to what you wear. About three years ago I came across a very dark indigo two button blazer by Dries Van Noten. Classically cut but in a subtly quilted fabric. The texture in the cloth meant it wore creases beautifully. The price ticket seemed scary. Three years later it seems like the best value for money ever.
It is light enough to wear in the fiercest Mediterranean sun. It has enough decent pockets to make it the perfect flight companion. The sanforized fabric means the dust of a site visit brushes off in time for a smart dinner. It has no shoulder pad meaning shoulder luggage can be carried without ruining the structure or silhouette. Despite the soft shoulder, it manages not to look like a shapeless deconstructed jacket. The quiet genius of Antwerps greatest creative export (this reminds me why Dries is high on our wishlist of collaborators). The sheen looks good in photographs. Do I need to go on? It is a piece of clothing I cannot imagine existing in any other colour or hue than the darkest, spilt Indian ink blue. It is a piece of perfect elegance that I don’t mind admitting I wish I had created.
“Have you seen the land living by the breeze? Can you understand a light among the trees? Tell me all that you may know. Show me what you have to show. Tell us all today. If you know the way to blue?” Way To Blue N ICK DR A K E
W H AT W E M E A N W H E N W E TAL K A B O U T L U N C H
Skip the tourists and make a beeline for the small door off Thompson which leads directly into a beautifully landscaped Parisian courtyard
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“A man may be a pessimistic determinist before lunch and an optimistic believer in the will’s freedom after it.” A L D OUS H U X L E Y
IT ’S
LU NCH TIME
New York and London share a number of critical characteristics. As cities they are like a great couple. Different enough to generate a fascinating tension. Similar enough to empathise and compliment. They catalyse each other. They are also divided by a five hour time difference. Where this is commonly considered a challenge, we relish the dynamic of it. When it is late afternoon in New York it is night time in London. Different times of the day produce different strains of creativity. The dialogue, in real time, between the two studios, is critical to how we design. An idea behaves differently by night.
Lunchtime, however, is lunchtime. Elliot is now based in New York where he heads the Thompson Street studio of March & White. Lunch, for Elliot, is a sacred ceremony. Time and deadlines don’t always allow it to be a leisurely paced affair. New York is a great lunch city. Thompson Street is rich with every kind of eatery. We know, from receipts, that Elliot is doing an admirable job of exploring these. I asked him to give us his perfect New York lunch for one person.
W H AT W E M E A N W H E N W E TAL K A B O U T L U N C H
With the mandatory early morning jog a fading memory, I head straight to the Laughing Man Cafe in Tribeca for the daily intake of caffeine! It’s easy to become a regular and everyone has a super happy vibe which always puts a smile on my face. What I love about this place is that its a non profit marketplace set up by the actor Hugh Jackman allowing farmers in developing countries to sell their goods to consumers in the U.S. With an Iced Latte in hand I always make a pass through Beach St. The old building stock in this part of Tribeca is absolutely remarkable. The detailing of the brick brings the scale of Manhattan back down to a human level. Buildings such as the old Amex building have long past been converted into high end residential condos; however their
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soul still remains and a lot of the new developments on Greenwich St mimic the solidity of their façades. Cutting onto Hudson St, I always catch the corner of the original Nobu. Understated but so good. The place is now closing after 20 years in the neighbourhood and moving downtown into the financial district near our new tower. Thoughts briefly turn to dinner and then reality bites. Time to crack on Mr March. Across the road is 60 Hudson Street, formerly known as the Western Union Building. It’s an odd mixture of German Expressionism fused with Art Deco detailing. The exterior brick moves from darker shades to lighter ones as the building rises, passing through 19 different colors. Both the interior and exterior of the building are landmarked and is now one of the most important internet hubs in the world. Actually, I think Google now hang out there...
The March & White studio is based on Thompson Street in SoHo. One of my favorite areas to spend time in, whether working or shopping – it has its vices. As a creative firm we enjoy the buzz of the area and our clients certainly do – a lunch reservation in one of the surrounding streets always brings our uptown guys downtown for a few hours! It’s a Wednesday today so to escape the heat I head straight to one of my current favourite lunch stops which is the Ladurée Cafe on Thompson. Skipping the tourists, I make a beeline for the small door off Thompson which leads directly into a beautifully landscaped Parisian courtyard. It’s an escape from the hustle of the street and provides a sense of total relaxation. I’m being interviewed today therefore I opt straight for the grilled Tuna Nicoise salad. Delicious. Interview done – off downtown to check on our project!
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A NOTHER OBSCU R E OBJ ECT OF DESIR E W O R D S: JA M E S W HI T E, L O N D O N 2016
A conversation is never a waste of time. Our studios are very rarely quiet. Sometimes the topics of conversation may seem obtuse or even inappropriate. Creativity is a funny beast though. Inspiration is everywhere. Ideas are precious and the act of talking is a good way of raking over sand to expose hidden treasure. A chat with James led us to discuss music. The unpredicted can be a beautiful surprise. To sit in an erudite design studio in Belgravia suggests a certain cultural leaning. I asked James what his favourite music was. Had I known the response would be so surprising I would have recorded it accurately. Without hesitation, he offered “Ride The Lightning, Metallica”
Everything that is not necessary has been brutally pared away and discarded. What is left is lean, muscular and full of threat.
He continued sketching. Silence. I was surprised. Not just by the choice but by the fact that it is the only album by them that I love. We discussed it and what made it special. We talked of the way it bristled with a serated edge of punk and thrash but still concealed sophisticated
harmony. It is a record free of any flab. Everything that is not necessary has been brutally pared away and discarded. What is left is lean, muscular and full of threat. It is a missile of absolute confidence. Precisely judged and offered. It is short enough to never outstay its interest. James said he had listened to it almost weekly, at certain points daily, since its release in 1984. Every listen continued to reveal a new energy or detail. They got bigger and richer. Their records got longer and sold more. They never, however, equaled the meticulous weapon of Ride The Lightning. James suggests the record is best listened to loud whilst driving at high speed at night. AC/DC’s monumental Back in Black was also considered. It, again, has a minimalism and precision. It is the definition of dignity in difficult circumstance. It is instinctively elegant. Were it titled Back in Very Dark Blue it would have probably pipped Metallica to the post.
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ELEGA N T THIN K ING Unique. Bespoke. Luxury.
There are some things which are complex to the degree that describing them in words is, at best, difficult and ineffective and, at worst, futile. The only way to understand and appreciate these things is to engage with them directly. This applies to food, wine, art and love. All of the things that elevate existence. We are told that our work belongs in this cachet. It is flattering of course to have this expressed by others. Certainly, we find it difficult to concisely explain, justify and validate what we do. The difficulty is compounded by the advice that there are certain words we must avoid in attempting to describe our work. The list of outlawed words includes the following: The rationale is that these words have fallen into the wrong hands, over, gratuitously and incorrectly used, and have lost their original potent meaning.
We have attempted to construct descriptions of March & White without using these words. There are no suitable alternatives to them. Any written content not including them lacks emotional urgency and intent. March & White have an instinctive urge to challenge conformity. We made the decision to, through our work, restore and reinstate these words in their original context and meaning. The strategists raise their eyebrows and assure it’s easier to just stop using those words. We, of course, commit to the noble cause of making, well, unique bespoke luxury a perfectly appropriate statement.
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“Even bad coffee is better than no coffee at all.” DAV I D LY NCH
A THIR D OBSCU R E OBJ ECT OF DESIR E W O R D S: ELLIO T M A R C H, L O N D O N 2016
Coffee became an obsession. Gimmicks come and go. Go to pretty much any provincial high street and there will be a place to serve you latte art, flat whites and every over fussy coffee option.
comes in handy. Don’t let the final stage go on too long. Water boiled, coffee spoiled.
The elegant choice, for me, remains the classic stove top capillary pot.
The heat in the metal shell means you need to place the pot on a suitable surface. I have a piece of very old carrera marble which I keep for the sole purpose of protecting the table from the searing heat. This, itself, adds an element of ceremony and occasion to the ritual.
As a piece of equipment it is simple and pared back to the point, almost, of crude. The cast body is bright and polished when new. Years of exposure to a flame gives it a deep, dark hue. Do not attempt to remove the patina. The really beautiful examples are those that have been handed down from generation to generation. A humble but very useful heirloom. The pot enables a coffee making process as pure as is possible. Ground coffee, water and a flame. And time.
It is quiet ritual. The breath and whisper of the flame is the call. The eventual gurgle of the boiling coffee rising into the top chamber is the response.
It is quiet ritual. The breath and whisper of the flame is the call. The eventual gurgle of the boiling coffee rising into the top chamber is the response. Be careful. The casement, the body gets dangerously hot. The handle tends to get too hot to hold. A tea towel
Handling the pot is akin to handling a weapon.
Obviously it is not the way every cup of coffee is made. Time, the lack of a flame, whatever, sometimes I just need a cup of coffee. Quick. Weekends, however, are different. A New York Times, fresh bread and the smell, and sound, of slowly brewing coffee is a moment of elegance that nobody should be prevented from enjoying. Elliot March heads up the March & White New York studio. When relocating from London to Tribeca he packed his trusty 4 cup pot in his hand luggage. Tricky going through customs at both ends but worth the effort. Elliot recommends high roasted Ethiopian beans from Lofted Coffee in Brooklyn.
Every time.
It is how we think and how we create. The result is not necessarily entirely of any era. Not old, nor contemporary. It is, we think, singularly beautiful. That is the critical objective. Always.
something entirely contemporary. Then an element from another point in time, geography or culture goes into the creative palette. This is when, for us, it begins to deepen in complexity. It increases in allure.
We both revere objects and ideas which are old, ancient even. To us, though, these become infinitely more beguiling when juxtaposed with
Think of it as responsive and not contrary. When we get exposed to excessive quantity of any creative inspiration, we begin to look at the opposite. The alternative. Although we adore classicism when we are immersed in it, we begin to dream of modernism. Likewise, prolonged exposure to uncompromised minimalism invokes a rebellion in us that makes us want to add to it. 110 111
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IN A PPR ECI ATION OF WOR K ING W IT H CON FIDEN T, IN T EL L IGEN T A N D INSTINCTI V E CL IEN TS
Let’s explore in greater detail the notion of considering a client as a collaborative partner. If you’re serious about it as a principal then it means there are people who it is not possible to work with. This, in short, means that March & White is not for everyone. We can live with that. We have to. The alternative is to produce work which is polite, conformist and unchallenging. This is where we think from the perspective of the artist. If what we do does not, in some way, divide people then we are not honouring the privilege of creativity. There is, of course, a commercial purpose to March & White. Equally, there are no works in our archive that we are not entirely proud of. This is because we decided, very early on, not to accept a commission purely for commercial gain. Never. Our belief is that the highest level of creativity demands that there is a mutual respect and desire to collaborate between all parties. It occasionally means we respectfully decline requests to collaborate. It, of course, also means that possible clients occasionally decide against working with us. We, very occasionally, find ourselves with a potential client who wants to work with us. We want to work with them but there is something preventing the union. These, thankfully, come around again when the timing is perfect. All in all, it is a very effective filter system. It ensures that the work that happens is vital, driven
“W E W O R K WI T H VERY K N O WIN G, INF O R M ED A N D ER U DI T E CLIE N T S. T H E Y B RIN G S O M E T HIN G VERY S P ECI AL T O A S T O RY. ALL A R O U N D T H E D E VO N S HIRE CL U B T H ERE A RE A R T PIECE S A N D O B JEC T S W HIC H O FF ER CL U E S T O T H E C H A R AC T ER, PA S SIO N S A N D P O W ERF UL C O N N EC T IO N S O F B RI A N CLIVA Z. O T H ER D E SIG N ER S FE A R T H AT P OIN T W H E N A CLIE N T B RIN G S IN T H EIR O W N A R T A N D O B JEC T S. M AY B E W E JU S T W O R K WI T H CLIE N T S WI T H E XCEP T IO N AL TA S T E. B RI A N, A N D T H E IN T RIG UIN G A N D B E AU T IF UL C U R AT IO N O F PIECE S IN T H E D E VO N S HIRE, CER TA INLY S U P P O R T T HIS N O T IO N.”
by mutual integrity, passion and respect. The people we work with are diverse in culture, age and geographic origin. What unifies them is confidence, intelligence and eminence in their field. One could easily argue that it would be simpler and quicker to work with less intellectually equipped clients but this would not take the work to the levels that are important to our clients and ourselves. There is the equal creative intrigue of handing custody of work to its owner. What we do is emotionally connected. The entire studio becomes very involved and committed to work as it evolves through our studio and becomes a beautiful home, hotel, members’ club or super-yacht. We are protective of it. There is comfort in knowing that the owner has a deep emotional connection and creative responsibility. Our clients are articulate and eloquent. We love to visit a house long after we have worked on it. Reliably we are delighted and inspired by the way the client, the owner, our collaborator, has evolved the story. That only happens when you choose, very carefully, who you work with. It is fair to say, these are some of our favourite clients who we would happily welcome as part of the March & White team. Our clients do, however, all lead very full lives. We can, at least, make sure they exist in sublime elegance.
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A very early indication
Looking back restores the eye and the mind for its primary purpose of looking forward. True. We frequently go back and revisit previous works. Very occasionally we go further back.
Our work is revered for its refined precision and dignified grace. It all must come from somewhere. Writers say that no conversation is a waste of time. A fragment, or trace element, will be carried forward. It will come out. Sometime. The image opposite is one of a series of close range photography of a very early collaborative piece by Elliot and James during their architectural degree. The purpose of the piece is not detailed here. Should you, of course, wish to know more about the piece they will both be delighted to discuss it more expansively.
This leads to another critical factor in the pursuit of elegance with an edge. A face to face conversation is the atavistic start to everything of value. Do not be deterred by the occasional subtlety or oblique tone of their delivery. March & White, the people and the creative house, is something which values, highly, human conversation. Back to the image. Whether by accident or design, the colour has a strange slightly faded, beauty. The detail, crudely formed, points to a place we recognise. You do have to look closely. You also have to use a healthy shot of imagination. Maybe that is always the point.
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A DESIGN M Y TH DESTROY ED Philisophical rules of the March & White Studio
A good client is not somebody who accepts every idea we present. A good client questions, reasons, challenges and, occasionally, objects. We never see this as a creative obstacle. It signifies, to us, that a client is confident, engaged and committed to pushing creative intellect as far as it needs to go to achieve a result of uncompromised beauty, quality and performance.
Simply working with very expensive materials, finishes and objects will not result in elegance. Without precise judgment these materials, however individually beautiful, will feel excessive, ostentatious and vulgar. This is not how we see contemporary elegance.
The collaborative relationship between the design studios, client and craftspeople is not a place for hierarchy. It is about mutual respect. It is about the exchange of ideas. It is always about creating a story with the conclusion being a very beautiful piece of work which satisfies, perfectly, the client’s desire for very individual, indeed unique, privilege.
We revere materials for their beauty and quality. Some of the materials we work with are simple, humble and purposeful. Counterpoint is critical to any interesting story. We use the rarefied and precious in subtly unorthodox and surprising ways. We take conventional notions of elegance, luxury and timeless style. We explore new ways of presenting and seeing these things. This shifts our work into an entirely contemporary context. In short, this provides the edge to the elegance.
Do other studios work in this way? March & White was never about comparing, or emulating, how other studios work.
It creates an intriguing duality to what we do. It leaves mystery and enigma intact. It makes the work we create open to personal interpretation.
S O M E T IM E S I T IS A H A P P Y AC CID E N T. A PIC T U RE SEL EC T ED F O R T H E R OYALT Y M E W S P R O JEC T. S PILT IN DI A N IN K. A TA BL E AT D E VO N S HIRE CL U B. P O S T D RIN K S. R U FFL ED B U T G R ACEF UL. A S PL A S H O F B E AU T IF UL D EEP IN DIG O. A N IM P R OVISED S H O R T S T O RY A B O U T AC CID E N TAL EL EG A N CE.
OU TSIDE IN TER FER ENCE As a creative medium film does it really well. Our favourite directors take the familiar. This can be story, setting, character or dialogue. Often, it will be all of these elements. As a creative medium film does it really well. My favourite directors take the familiar. This can be story, setting, character or dialogue. Often, it will be all of these elements. The instinctive gift of the director is to subtly present these in a way which feels absolutely fresh. The ripple extends to making the viewer think about the elements in an entirely different way. The purpose of art is to provoke thought. Film, as a discipline, does this beautifully. For us, to watch a film is to study the way light, contrast, shadow, tension and sequence have a powerful emotional effect. When channelling inspiration certain directors and films are more likely to be referenced and studied than other, past or present, interior designers. There is a reticence about using the work of other interior designers as a creative spur. This is not to say there are no other designers who excite, interest and delight us. It is more about the creative obligation to pursue the unique and present something quite different to everything which has come before. The pause, rewind and play buttons have been heavily used. The films explored have been numerous. The directors who continually inspire us include Coppola (both Francis Ford and Sofia), Wes Anderson, Terence Mallick, Paul Thomas Anderson, Bernado Bertolluci, Wong Kar Wei, Nic Roeg and, well, the list is long.
David Lynch is a recurring reference for us. As designers we have a passion for detail. We are drawn to films which demand numerous viewings. The work which reveals something subtle but very significant on every visit is something which casts an allure to us. In keeping with the allure of intrigue and mystique we have also refrained from giving the reasons why the film is consideredsignificant. What we would really like is that anybody interested will, in their own time, get round to watching the films. Not mandatory but, we think, critical in gaining a deeper understanding of how elegance with an edge happens. The wider sweep. It takes in not only film. It casts across sartorial design, art and geographic cultures. If the influences are not obvious in the work then something has gone very right. Anybody can collate influence. How that influence and inspiration is interpreted and worked back is the critical decider. That’s where the difference lies. To experience March & White, whether as a client, a team member, an observer or maybe a guest at a hotel or restaurant, is to understand the importance of avoiding the literal or immediate. It is to appreciate the intrigue of subtle and nuanced composition. Less design and more abstract alchemy. Elliot
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Mullholland Drive David Lynch An enduring favourite – I love the way the movie is shot against an elaborate and highly detailed set that evokes a horizon of emotions: fear, happiness and back again in the same scene. This movie, and his wider work, is a big source of some of inspiration through the use of materials, theatrical lighting and attention to detail, shadow and nuance all distilled to evoke a powerful sense of mystery. We both remain in thrall to Silencio in Paris. A club, performance space and bar designed and owned by Lynch in Paris. The place defines all of the enigma and suspense of his work. The perfect place for a very late night Espresso Martini in the cause of research.
The Tree of Life Terrence Malick The Tree of Life was only Terrence Malick’s fifth film in thirty-eight years. A demonstration of quality over quantity, a notion we approve of. I am a a big fan of his work. What still sticks in my mind, aside from Penn’s individual performance as an Architect in Manhattan, is the wildly expansive 10 minute sequence of vast interstellar conflagrations, drifting stars, planets in their formless infancy, sun and moon overturned by dark storms, impulsive jolts of lightning, primordial pools of soup, early plants, life forms, dancing jellyfish, a dinosaur washed up on the shore, an embryo’s eye, and a child being born. The quantumly complex editing and obsessive attention to detail that this sequence must have demanded has parallels with some of the work we produce. Our stories. Taking inspiration from the client, the building, the users, the context and then editing and playing out against our own inspiration and desires to create a finished product that is seamless and coherent yet strangely oblique points to a common thread between our respective work.
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THE LU X U RY OF PR I VAC Y Like a lot of the precious things in life it is difficult to explain. The taste of very fresh Burrata is slight and vague. It is relatively expensive. It is, for many, utterly indispensable in life. Social media has had little effect on the desire for a great private members’ club. There will always be an erudite and international coterie of people who want an intimate, elegant and sophisticated third space in their life. To those who travel a lot the Club is the comfort of familiarity. It is quiet, well earned privilege.
There are classic Clubs that we had no involvement with. It doesn’t stop us appreciating them. The places we have created have a special place in our heart. We like, of course, to think they have a special place in the hearts of all those who join them. There’s another thing. Visiting a Club is one of life’s treats. Belonging, however, is a whole next level thing. It’s a human intuition to create communities of like minded individuals. Nothing defines this quite like a very distinguished private members’ club.
We adore designing Clubs. We love visiting them. Creatively they are fascinating. They distill the drama and theatre of hospitality design with the instinctive desire for comfort that fuels residential stories.
“I wouldn’t want to belong to a club that would have me as a member” * *Myth makes it unclear who actually said this. Some say it was Groucho Marx whilst some insist it was Woody Allen. Interestingly, both men were/are members of numerous clubs. W hoever said it made a witty, if less than committed, contribution to language.
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“It is the wine that leads me on, the wild wine that sets the wisest man to sing at the top of his lungs, laugh like a fool – it drives the man to dancing... it even tempts him to blurt out stories better never told.” The Odyssey HOM ER
“Do you see the story? Do you see anything?” Heart of Darkness JOSEPH CON R A D
A story about elegance
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