ST_F_BRIAN

INTERVIEW OF THE MONTH
A Long chat with designer Alizee
Brion of light on white studio
Inspired by our strong ties with Monaco where yachting and sailing is
part of our lifestyle (think Monaco Winter Series for example), we give
you a taste of some of our favourite designers’ latest works. Some of
them are yachting specialists, while the others are interior designers
who aren’t afraid of a different challenge. Creatives whose design
vision and over the edge client relationships took them on new journeys
such as moving from onshore to offshore projects. A Columbia School
of Architecture NYC graduate and a former Philippe Starck collaborator,
Paris born, London raised Alizée Brion now lives in Miami where she
opened her studio last year.
We chatted with Brion via
Skype about South Beach
living, residential evolving
style and setting new goals…
MBR: As a former Parisian and Londoner, what made you move to Florida
and how did you come to open your studio there?
AB: The way the company is structured is that we have our design office in
Miami, and project managers who are based in three other cities: London, Paris
and New York. All our design work is done from the Miami office but we assign
projects to the project managers based in their location. This is what I have
found to be the most efficient and seamless way to run an international practice
while still keeping the team small. The design team is in constant contact with
them and as such, we maintain control of all aspects of our international
projects. As the director, I regularly travel to meet with our international
clients and visit project sites. It has always been a goal of mine to set up the
company that we would be able to take on projects regardless of location. I
hated the idea of having to turn down a dream design project simply because
of the logistics of running it from a distance. We have an extensive network of
suppliers, craftsmen, tradesmen, and contractors that we tap into to execute
our projects all over the world. Our clients can benefit from this global network
as we are able to truly offer the best of the best, leather upholstery from Italy,
linen rugs from Belgium, antiques from France…From a business perspective,
it works wonderfully because working in the high-end residential sector, our
clients often have multiple homes throughout the world and we pride ourselves
on the fact that a large percentage of business is repeat business. As a designer,
being able to take on international projects is such a luxury. From a creative point
of view, it is so interesting to work in different contexts. Everything, from culture
to climates shape our designs and I love to celebrate differences.
MBR: How would you define your aesthetic and design vision? How does it
match with the locals’ expectations and tastes?
AB: Coincidentally, there is a growing demand in Miami for a more sophisticated,
European style of interior design, which is what a lot of our clients turn to us
looking for. Although we don’t have a “house style” at Light On White, we do
like to take our clients in Miami towards a more refined, layered style of design
that really sets them apart from the quite pared back modern design that is
more common in the US. We encourage them to see the effect that using fabric
wall coverings, wood panelling, a well-placed antique and layered mood lighting
can have on a modern interior. I was so happy when a client said that our South
24
Beach residence project was the most sophisticated
interiors they had seen in a modern home in Miami.
It is truly our goal.
MBR: For sure you live up to your studio’s name as
you tend to favour white tones and soft shades in
your projects so that your rooms are filled with light!
AB: The name Light On White originates from the
magical moment when natural light falls onto a
surface. Natural elements are my biggest source of
inspiration. I love to bridge indoor with outdoor and
pour natural light into the spaces we design. I love to
use natural materials and organic elements whenever
possible. They bring a richness in texture and form that
you simply can’t replicate with man-made finishes.
Recognizing the impact that our environments can have