28 www.thedesignermagazine.com


Cover Feature


From Palace to Penthouse


When designer David Redman talks about having a ‘high-end’ clientele, he really means it. Martin Allen-Smith meets a man whose designs meet approval in very high places...


AN


established designer in the luxury goods market, David Redman has gained an international reputation within the industry and retail sector as an expert within the specialist areas of gold, silver, enamel, crystal and ceramics.


A flamboyant individual, passionate about design, he has extensive knowledge of manufacturing processes. With his own business established in 2005, he has built successful collaborative relationships with clients including Bentley Motors, Bacardi, Dunhill, Asprey, Garrard, Linley and the Richemont Group.


Now gaining increasing commissions from the Middle East and India, the studio’s mission statement is ‘From Palace to Penthouse’, which explains rather well the target market for the exquisite works of art it produces – buyers include royalty and other VIPs around the world.


Redman’s journey from Bond Street jewellery designer and silversmith, resulted in some major design-led commissions from a wide variety of manufacturing and creative houses. His perfectionism of form translated easily into glass and crystal design as a result of the exposure to the craftsmen and artisans he collaborated with along the way, many of whom his studio still works with today.


DESIGNER: HOW WOULD YOU DEFINE YOUR DESIGN STYLE? WHICH INDIVIDUAL PIECES WOULD YOU SAY BEST FULFILS THE ROLE OF A DAVID REDMAN ‘SIGNATURE’ DESIGN? DAVID REDMAN: We design ‘icons’ and our Penthouse consumer ranges are testimony to our long term vision as recognisable collectables. The methodology is that we are ‘doing yesterday’s business for tomorrow’ and this means we position crafts and skills from traditional crafts as investment purchases re-designed as relevant contemporary pieces of applied art. In terms of style, it is very much international so whether a penthouse in London or Singapore, it fits into the urbane environment and is relevant to that lifestyle wherever it may be. In terms of Palace, we study the culture of the country the Palace is located in - it is a legacy for that culture and future society.


DESIGNER: HIGH QUALITY CRAFTSMANSHIP IS CLEARLY VITAL TO YOUR WORK. WHAT ARE THE CHALLENGES WE FACE IN PRESERVING SUCH SKILLS FOR THE FUTURE, BOTH IN THE UK AND FURTHER AFIELD?


REDMAN: The UK does not value or appreciate its integral skills and that is a real tragedy. To be a craftsman has been seen as a secondary occupation in contrast to finance and services. Manufacturing here has been ignored politically for generations in the UK. We are trying to create a community of


the best UK talent and welcome approaches from true craftsmen. In the emerging and booming societies of the Middle East and Asia as well as the Far East, they have tremendous support for their own as well as UK crafts which are appreciated and really admired. The UK should be ashamed that it has not supported its skills and talented individuals.


DESIGNER: WHAT IS YOUR INTEREST IN RESIDENTIAL INTERIORS, AND WHAT BEARING DOES THIS HAVE ON THE PRODUCTS YOUR STUDIO CREATES? REDMAN: I see our products as extensions to interiors and we can create ceramics and glass as an integral part of the interior. I would love to work on a room - or even the outside of a building - entirely clad in these materials. We work with factories that make such ambitious projects happen.


Left: Ornate hand-crafted one-off piece Below: Jet Collection of Martini glasses and cocktail shaker


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