IN­TE­RIOR DE­SIGNER FRAN HICK­MAN

ELLE Decoration (UK) - - Feature -

Hick­man’s ex­quis­ite colour com­bi­na­tions and el­e­gant lines cre­ate a feel­ing of har­mony

Since she set up her prac­tice in Lon­don’s Not­ting Hill in 2014, in­te­rior de­signer Fran Hick­man has gar­nered a rep­u­ta­tion for her use of clean lines and strik­ing colours. There’s Goop’s pop-up shop on West­bourne Grove dec­o­rated in a palette of light gold and deep blue; the show apart­ment at White City’s Tele­vi­sion Cen­tre with an­i­mal prints, rat­tan and a dark aubergine liv­ing room; and the Not­ting Hill town­house that has a state­ment stair­case (above) in­spired by Bar­bara Hep­worth’s curv­ing Pe­la­gos sculp­ture. ‘ We wanted to keep the stairs light, with a sim­ple play on ma­te­ri­als. They re­veal vis­tas of the house you might not or­di­nar­ily see,’ ex­plains Hick­man, who is ‘ab­so­lutely thrilled’ at win­ning an ELLE Dec­o­ra­tion Bri­tish De­sign Award. Her cur­rent projects in­clude Locket’s wine bar at the Smith­sons’ Econ­o­mist Plaza in Lon­don (‘The brief was that the space should feel quite fem­i­nine, which is in­ter­est­ing for a Bru­tal­ist build­ing in a char­ac­ter­is­ti­cally male neigh­bour­hood,’ says Hick­man). Then there’s the East Hamp­ton home of stylist El­iz­a­beth Saltz­man, de­signed by ar­chi­tect Richard Meier for her par­ents. ‘It was dec­o­rated in full 1960s Max­i­mal­ist style, and Meier is known for his strict Ra­tion­al­ism – the two aes­thet­ics make the house re­ally spe­cial,’ says Hick­man. ‘Over the years, its look has been wa­tered down, so we’re tak­ing it back to how El­iz­a­beth re­mem­bers it as a child.’ fran­hick­man.com

Authen­tic ma­te­ri­als and min­i­mal­ist sil­hou­ettes com­bine in Dixon’s strik­ing bath­room lights

The old adage ‘if you can’t find some­thing you like, de­sign your own’ is true of Tom Dixon’s new range of lights. ‘ When we’ve de­signed bath­rooms for ho­tels, it has been hard to find any­thing wa­ter­proof that has a bit of char­ac­ter,’ he ex­plains. ‘ We wanted to make some­thing func­tional but also dec­o­ra­tive that would add oomph.’ The re­sult was three lights: ‘Stone Wall’ (right), carved from white mor­wad mar­ble (‘There is a mar­ble ring around the bulb, which plays on the idea of float­ing; it looks like a magic trick’); ‘Plane Sur­face’, which con­sists of two in­ter­locked square brass­plated steel frames around a glass sphere; and the award-win­ning ‘Spot Sur­face’ (far right), which has a thick glass lens de­signed to re­fract the light of the LEDS. ‘I like to take el­e­ments that al­ready ex­ist and ex­ag­ger­ate them – in this case, an op­ti­cal lens,’ says Dixon, as he quips about pol­ish­ing his ELLE Dec­o­ra­tion Bri­tish De­sign Award. The de­signer has been ex­per­i­ment­ing with lights for longer than he can re­mem­ber. ‘I re­alised very early on that peo­ple were happy to be less con­ser­va­tive with light­ing than with other forms of de­sign, so it be­came a ve­hi­cle for ex­press­ing ideas and ma­te­ri­al­ity,’ he re­calls. To­day, he con­sid­ers light­ing as one of the most ‘for­ward mov­ing ty­polo­gies in in­te­rior de­sign’. Next up, he’ll be ex­per­i­ment­ing with ‘elec­troana­logue’ lights that cel­e­brate el­e­ments such as cir­cuit boards and trans­form­ers. tomdixon.net

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