Interior design: making a swish list

Out with the swirly carpets and horse brasses and in with the... what? Fiona McLelland finds out why a stylish pub interior is more important than ever and what the latest trends are in pub design.

The world of interior design changes less frequently than that of fashion, but even with this in mind, licensees who don't redecorate regularly will end up with a tired looking pub.

Most of us realise that lots of natural light and comfy seating are as commonplace now as the sticky carpets and uncomfortable stools of old. In part this new look for pubs is a response to several years of unprecedented change in the sector, brought about by the smoking ban, new licensing laws, a shift in drinking culture and increased competition from the high street and supermarkets.

"The market is changing; pubs and bars have to keep up," says Sophie Douglas, partner at Fusion Design & Architecture. "There has been more certainty in the market over the past six months as the economy settles down. The trade has overcome the shock of the recession and pubs are realising they have to act now, as only the strong will survive."

Greater resourcefulness is needed to make up for lost wet sales in the wake of the smoking ban and increased competition, according to Simon Hall, director at Simple Simon Designs.

"Competition from the high street has forced pubs to think much more about their offer and design as a whole," he says. "They've been losing out to coffee chains, with their bright interiors and big open picture windows, and companies and licensees now realise they have to work harder to gain custom. They've become much more open to throwing out the horse brasses of the old days."

Is it worth it?​

Although the economy has stabilised, recent statistics from accountants Wilkins Kennedy show that the trade is not out of the woods yet. More than double the number of bar and pub firms went out of business in the first three months of the year than the same period in 2009.

This has placed increased pressure on licensees to create a more rounded offer, which has led them to look hard at their pub interiors.

"At the end of the day you have to paint the walls, you have to have a bar and you have to have furniture. You may as well do it right," says Jo Clevely, design director at Geronimo Inns. "But it's important to strike the right balance between being too extravagant and a realistic spend."

Clevely estimates that a complete refit — including a new kitchen, cellar and bar — will cost about £750,000. Geronimo Inns looks for a return of investment within one year, occasionally two.

"Our design is very frugal — very rarely will we move or rip out a bar. We keep costs down by doing all the design work in-house," says Clevely.

"We aim to recoup our investment by creating a design that is compatible with our carefully considered offer for each site. We keep it simple by not spending on expensive technical equipment or overly complicated controls and machinery."

Clevely points out that a site will usually have a unique feature or characteristic that can be highlighted in the design.

"We look to keep costs down by using what's there. The refit of the Elgin in London's Notting Hill, for example, proved relatively inexpensive, as we were able to polish up the timber. From there it was a case of improving the lighting and adding rich fabrics to finish off the look. It's now doing really well."

Working with a designer​

Not all pubcos have the luxury of an expert design team to undertake new projects. That's where the architect and designer come into the equation.

When choosing a design partner, one of the most important considerations should be experience of the trade, says Sophie Douglas at Fusion Design & Architecture.

"We see too many examples of a pub or bar using an architect and designer who is more used to working on retail or domestic projects," says Douglas. "This is such a specialised trade, where operations are just as critical as design, and an experienced designer will know how to make both aspects work together."

Communication is the key to a successful project, and Douglas says the designer's job is to come up with a concept that is compatible with the client's offer and meets all customer needs.

"The design must be in keeping with the offer, so that the message you're sending out to potential customers is easily understood.

"It's up to the designer to discuss what the owner wants and what the market needs. That's not just about finding out where your potential customers like to drink, but where they work, where they shop and where they eat. This has to be done on a local basis — a bar in central London may have to be very different from one in Leeds or Cardiff."

Of course, the client must like the look and feel of the finished design, but Douglas recognises that a pub owner may find it difficult to explain what type of look they are after. She suggests taking along a number of images of designs that excite you and taking inspiration from other bars, pubs, restaurants and shops, as well as home, fashion, design and trade magazines.

"Some pub and bar owners are reluctant to tell us what they like or put ideas into the designer's head. But the more information we can get, the more successful the finished result for everyone."

Stuck in time​

While licensees are increasingly conscious of the need for compelling design, not all will be up-to- date with current trends or aware of whether they've fallen out of step.

"We find that customers have become much more discerning," says Simon Hall. "Being behind the bar day in, day out makes it easy to take your eye off the ball. In only five years, a pub's interior can become completely out of step with modern trends."

To compete today, a pub must develop a strong offer that works in tandem with the right interior.

"A pub has to attract as many people as possible at all times of the day and night," says Hall. "People's expectations have risen across the board. They expect a great cup of coffee, excellent food and contemporary, comfortable and inoffensive surroundings."

Hall's "most stunning example" of a successful redesign that has done wonders for turnover was the Hen & Chicken in Bristol.

The pub was suffering from a general lack of care, he says, with a mid-'90s interior, years of old posters on the walls and lots of fruit machines. When the current management took over three years ago, they hired Simple Simon Design to give the premises a complete refurbishment.

"We made the most of what we had — a great open space with lots of natural light," says Hall. "We gave it an eclectic feel that worked well with the pub's all-day, quality food and drink offer. The before and after shots are unrecognisable."

Standing out from the crowd​

One group creating a name for stand-out interiors is fledgling London bar-restaurant operator Drake & Morgan, led by Jillian MacLean.

The operator's third venue, the Anthologist, opened in Gresham Street, London, in April. The attention to detail that has gone into the design has matched the ambitious concept of running an all-day bar and deli with two cocktail lounges and a wine cellar.

Work has now begun on the £2m development of a fourth site. The Folly will be "London's secret garden", complete with an 8m-high tree- trunk in the middle of the bar, a flower shop, private dining room and deli.

"The mood is changing and customers are demanding something different," says MacLean.

"We have been through a very neutral period, with browns and natural finishes, but now you see much lighter and fresher bars with welcoming textures and comfortable furnishings to the fore."

Drake & Morgan works with Fusion Design & Architecture on the capital investment side of a project, but the firm's internal team takes care of soft furnishings and finishing touches.

MacLean says: "We're always on the lookout for inspiration and have all sorts of sources for furnishings and accessories — we've bought mixologist tables, bar f