JOANNA COX
exciting and the facility of the styling images and what Pinterest allows you to do is great at building your confidence as a designer. It’s a fantastic tool to utilise when working with clients to achieve a look as it offers so much variety. The quality of the photography and the fact that it is global also contribute to the impressive platform of Pinterest.
Which design school did you train at and how have design schools evolved since you were studying?
Q
I studied at the KLC. My experience of education at the school gave me a really good foot on the ladder into the industry but it also taught me a valuable lesson about how tough the business is. In the first few weeks of the course people were dropping out, which just goes to show how tough it is and that you need to be prepared to work hard at that level. I’ve been so passionate about design from the very beginning and I knew it was what I wanted to do so the challenges only inspired me to keep going. I left the school with
“I love mixing period features with modern design; dark
colours, moody oil paintings and taxidermy! ”
honours and would recommend the KLC to anyone. It taught me all the basics necessary like the use of fabrics and understanding colours, the history of design and one thing which I use to this day which is drawing techniques. I think something, which has come on in leaps and bounds is the use of AutoCAD and Sketchup. I learnt everything freehand and still use it on site with my clients but I have CAD technicians draw things up back in the studio. Visual technology has really developed and made life much easier for designers. From my perspective as a professional designer, being creative doesn’t mean you’re, by default, good with computers, which is why I’m glad to work with CAD proficient technicians so that I can utilise my skills elsewhere.
Have you ever dabbled in other forms of design not necessarily linked to the world of interior design? Not specifically design but I am very much into drawing and painting. They’re two of passions and have been from a very young age. When I was younger I wanted to set up a furniture painting company with a friend. We never did but I guess I was always destined to work in design.
Q
What is it about the arts and interior design that fascinates you so much? I believe design, like fashion is always changing. I love that clients don’t always realise what their particular style is, they’re often unaware that they have a preference or an opinion on design and it’s a real pleasure to be able to help them realise it and bring it out in their homes. One of my Clients might love super contemporary interiors with lots of glass and another might like traditional period features and French furniture. It’s fun to be able to know how to make it all work together - It’s a form of art.
Q
Where is the majority of your work based? Have you ever worked or lived anywhere else? The majority of my work is based in London and the Home Counties. I previously lived in Sweden for a couple of years and they have a beautiful sense of style.
Q
How has this helped to shape and influence your ideas on design? I have to say I don’t actually use the Scandinavian style very much in my work but it is very light, clean and natural and has a beautiful appeal to it. It really depends on what my clients specify. I would say that this style is slightly engraved in me and I am always drawn towards Scandinavian designs whenever I see them.
Q Q
How would you define your design style?
I’d say I have an eclectic style, slightly more on the masculine side. I love mixing period features with modern design; dark colours, moody oil paintings and taxidermy! I’m also a big fan of French antiques. I like to walk into a room and feel like everything belongs even if none of it should go together, it just does.
Q
What was your first ever design
commission?
A footballers house in Surrey! It was very scary. I had just started at the company and my predecessor had gone on maternity leave. Luckily I had a really strong support network in the firm I was working for and I basically just winged it. I work best under pressure and felt this gave me invaluable experience.
Q
What was your biggest ever design
commission?
Not necessarily the biggest but due to the profile and the timescale we had to complete the job, it would be the Bremont’s Flagship watch store on South Audley street in Mayfair. It was an exciting project and one that I could really have some fun in. The brief was to create a shop that has the look and feel of a smart gentlemen’s club but to incorporate eclectic industrial artefacts and unique sporting accessories to accentuate each watch model.
If you hadn’t become an interior designer what would you be doing? I would have liked to have been a racing driver! Failing that a photographer.
Q
www.haminteriors.com idtmagazine.co.uk | Interior Design Today | 33
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