A A certain type of decorative budget leather rides high in the interiors – but nobody who works for aesthetics does it like Martin Brudnizki. His kaleidoscopic rooms, one of the most sought -after designers in the world, are layered, loud and alive. He is the cinematic interior designer that gave us the extravagance of the London private member club Annabel; The purple lavastone bar in the Sexy Fish restaurant, flanked by Damien Hirst-Designed mermaid; And Harry's bar with its mirrored walls and polished floor tiles that are so shiny that they feel like they are feeling in a Fellini film.
To celebrate the 25th anniversary of his studio, the Brudnizki, born in Swedish, categorized and summarized his work in a 300-page, highly colored band. My life in colors. But that is not just another portfolio book, rather part of autobiographical, partly instructive creation, buried business secrets and offers an intoxicating dose of inspiration on the way.
Martin Brudnizki in his house in West Sussex
Was Kearon
Brudnizki created a “great imagination of flora and fauna” in the rose room of Annabel's
James McDonald
“The common denominator of everything I do is color,” he explains. “It was the first class that I in the design school – color theory – and I remember this lesson to this day.” His program director warned him: “Color is the only one with which your customers have to fight the most because most people are afraid of it.” Brudnizki paused. “Still true.”
Brudnizki's key to the successful use of color is double: bravery and test. Not by beating a sample pot on the wall, but by painting on a 10 -cm foam foam board from an art shop or in other ways and watch how the daylight changes before you make your ultimate decision. It is a process: “You test, test, test. Don't just buy a color and paint because it will be wrong. Not even I'm doing it.”
Tones should also work harmoniously together in a multicolored scheme. “Set the color cards next to each other. If you don't jump out, it's okay. If a color has all other colors priority, you still know that this is probably not correct.”
He opens his book with a chapter on yellow, a color that he calls a “Mercurial Master of Joy”, in which he drives himself out of the bedroom and a blanket as an eight -year -old boy. Some may flinch when using this sunny shadow, but it is one of the classic Scandinavian design that once lavishly added to the walls of the old town of Stockholm villas thanks to its ability to “add a jubilee otherwise dark Northern European Days”.
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Brudnizki used green tones – “the best color from which you can build an interior in the rooms of the Wigmore”
James McDonald
For the easiest to live yellow, Brudnizki's point of contact was an earthy color, similar to the salon in his 17th century apartment in West Sussex. The design of this bombastic space, which is often referred to as “John Fowler on Acid”, takes care of Cues from a Venetian Palazzo with Murano glass lighting and golden mirrors. It is painted in Edward Bulmers Naples Yellow, a shadow with a butter -like red base that “changes from a deep mustard to a radiant lemon all day, depending on where the light is located”. If the complete immersion is too strong, Brudnizki's entry -level tip is to use yellow as an anchor accent in a more busy program, as he did with a large mustard sofa in the middle of the lobby in Soho Beach House in Miami.
The neutral nature – green – is like a personal Brudnizki baseline because it fits everything, and at the same time primary colors – red, yellow and blue – really sing. The color is a staple in its design studio MBDS: from the fantastic rose room in Annabel, where the murals traded from foot to the end represent English compatriots, right down to the green ceiling with a high gloss, which compensate for the decorated neoclassical details in a cave room of the Wigmore pub. Brudnizki calls it “the best color to build an interior and the one that I often use to thread a complicated design scheme,” as he demonstrates with the warm, yellow apple green (Edward Bulmers invisible green) in his own hallway to connect the orange, yellow, blue and pink rooms. This color may look intense in the paint shape, but works perfectly in the room without direct daylight.
Dark Greens, who are popular with Parisian designers of the 20th century like Hubert de Giveenchy, Henri Samuel and Alberto Pinto, can be more difficult. Brudnizki notes that elegant lines, like an emerald green runner, who can load each other with a curved limestone staircase. Otherwise, they hug a dark green saken in a dark room – circling, blanket, walls and everything. In fact, he calls on decorators to always follow the nature of the room: in a windowless room they never paint it to “brighten up” it; Lean into the lack of light and hug the darkness.
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The walls, curtains and head parts in the designer bedroom are covered with Jean Monro Lustmore Print
James McDonald
Brudnizki's bedroom is an ode on pink: a blushing flower -jean monro (walls, curtains and headboard) dominates the room alongside works of art by Oliver Messel and a Giorgio de Chirico lithograph in its original framework of the 1950s and a couple of Elizabethane, which are embroidered by Ebays from Ebays by Elizabethane. When the color builds the stage, patterns, art and antiques deliver the piece. Brudnizki's tips for layer patterns are simple: mix flowers, stripes and geometry. But do not put any stripes next to each other.
Its rule for the storage of Pink Chic as a saccharin is to be wrong with a brown undertone towards colors. “If you combine pink with stronger colors and avoid pastel colors, you will take out the stitch,” he adds. “It is best to avoid pink with a bluish base, as they can feel cold and pink with a peach base, since they can often shine like a marker on the walls.” Pinks works in a magnificent gelato-like synchronicity with green, but Brudnizki also likes to combine them with brown, rust and mustard (“because these colors from the ground palette and like a sunset naturally mix”).
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In fact, Brudnizki is “so grateful” that Brown has become one of the most popular colors to “take over the gray sum of the past decade”. He describes it as deep neutral and says that thanks to its enveloping effect, it is perfect for a bedroom. He also loves anchoring brown furniture and wooden walls, such as in the Mayfair Restaurant Scott's and The Ivy or even in a more modern program.
“Brown is dark, so every color can contrast quite aggressively with it [that] are perfect too brown. “
A big no-no is brilliant white. “It is very hard – it is better to decide a softer white. If you want to handle architraves, cornice in [soft] I know, I would paint the wall in a bold color, not like a light green, which is a little yucky. “
There are plenty of designs in Brudnizki's designs. The idea that blue or pink and green should never be seen together is only one of the many that he ignores. It describes blue as the color, which is certainly connected and comfort. His preferred light blue (and stealth -neutral) is Gustavian Blue, a Swedish favorite that combines calm with Nordic neoclassicalism. His bedrooms in the Paris Hotel Le Grand Mazarin employ this color, paired with a palette of green and terracotta as well as tapestries. A tip? Leave lively blues like turquoise for a hot and tropical place. “It doesn't feel right like London or New York, but it does in Miami.”
How for red? He loves to use column box in corridors, but also as an immediately invigorating accent; These “pops” work in a similar way to gymnasts in its paintings. The viral “unexpected red theory”, which entered design in the design last year – with reference to adding only one red object into a room, it can immediately transform that Brudnizki has been “applied to the restaurant in Eden Rock Hotel in the Barts for years. The design. “
“Of course, colors are practical things,” he says, “but they are also emotional. They are mood behavior, they can reduce stress, they can stimulate the conversation and they can alleviate us with their peace.”
My life in colors By Martin Brudnizki (Rizzoli £ 46) was broadcast on October 14th. When ordering a copy of TimesBookShop.co.uk or by phone at 020 3176 2935. Free UK Standard P&P on online orders over £ 25. Special discount for times+ members available