THE JOURNAL
applied glaze in a biophilic colour palette such as menthol or mustard, as well as the Enso mosaics with their undulating surfaces. It's all in the details. Even with plain tiles, Burles can create maximum impact through smart, creative choices, like introducing a funky edge or a shadow gap, to achieve a sharp, modern look. Maintaining connection with suppliers and getting inspiration in person
is an important element. “Touch and feel, the 3D – you can’t get that on a website,“ notes Burles. Heading to Pierre Frey she notices Mémoires Colorées, a collection of fabrics, wallcoverings and rugs imagined by Belgian artist Isabelle de Borchgrav that celebrates colour, materiality and creative freedom. “Pierre Frey fabrics are the ones we fight hardest for in a project,” says Burles. The brand's creative director, Patrick Frey, often uses the motto "creating means being bold!" This is reflected in the firm’s willingness to use unexpected colours and daring patterns that challenge the norm. Burles runs her hand over ‘Bebelle’, an artisanal embroidery, framed like a piece of art on the wall. “It’s the clash that works,” she says, praising the studio’s audacity and originality. Similarly, Burles encourages her clients to take risks. “A designer’s job is to push beyond [a client’s] comfort zone and have broad shoulders” to see it through. Much of Run For The Hills’ success stems from Burles’ creativity, paired
with a commitment to honesty and curiosity in client relationships. “I just like people, and it's a people industry, isn’t it?” she says. Her journalism background likely shapes her approach to active listening, ensuring clients never feel rushed. While she fully embraces AI to stay ahead of the curve, she remains focused on the irreplaceable human element. "We have something special over the robots," she notes, emphasising that while the studio uses modern tools to meet evolving expectations, the future of the firm will always be rooted in soulful, human- centric design. Burles has been an active member of the BIID for years, volunteering to be
on committees, as well as a mentor at the BIID student design competition. She is now president elect and is passionate about growing the credibility and integrity of the industry. “I felt I wanted, and needed, to be part of the network of professional, best-in-class interior designers,” she comments. “But really, we need to shout from the rafters about how complicated the job is,” to foster trust and value amongst clients and stakeholders. For Burles, the Design Centre plays an essential role for the industry. “I think
CLOCKWISE FROM ABOVE: Run For The Hills’ Anna Burles on the Design Centre’s instantly recognisable spiral staircase; inside Houlès’ showroom, “the home of the oomph”; Kindred, a west London members’ club with
personality-packed interiors by Run For The Hills; a moment of pause in the Pierre Frey showroom alongside the recent Mémoires Colorées collection; Redmere Hall, a rural retreat in Wiltshire; on the hunt for tiles at Ca’ Pietra
it’s just an absolute Mecca – an absolute essential.” For her, it is not just about sourcing for projects; it is about the “human face of interior life” and the joy of discovery that the Design Centre encourages and facilitates. “I love coming here, and I love coming to the events,” she adds, noting how much the offering has grown and diversified over the years. With more projects in the pipeline, from a Japanese bar with a roof terrace to a passive (eco) house, Burles and the team will be back, knowing that even the smallest details have a big impact.
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© Jessica MacRobert
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