A love of luxury

Selina Denman , June 8th, 2009

Chris Dewar-Dixon, creative director of Four IV, has created interior and brand identities for some of the most recognisable retailers in the world. Here, he takes time out to talk luxury

Specialising in leisure and retail interiors, as well as brand development, Four IV prides itself on having worked with some of the world’s most commercially-proven luxury brands. Certainly, the UK-based graphic and interior design agency’s client list reads like who’s who of high-end retail. Harvey Nichols. Thomas Pink. Mulberry. Burberry. Duchamp. Harrods. Kurt Geiger. Even Armani.

Currently working in over 14 countries, the company’s USP is genuine insight into the luxury marketplace and the unique mindset of its audience, cultivated over a period of 17 years, says co-founder and creative director, Chris Dewar-Dixon.

Commercial Interior Design caught up with Dewar-Dixon, a discerning consumer of luxury himself, to find out about his most recent projects in the Middle East, and how the luxury sector is faring in the current climate.

How did you end up in design?

I was fortunate enough to be interested in interior design from a young age. I was never confused about what I wanted to do, and pursued it relentlessly!

After graduating with a Masters degree, I worked at a prestigious London design agency for four years. This gave me the training and knowledge that I needed to set up my own agency, as was
always my intention.



How do you define good design?

My company ethos is ‘design that makes a difference’, whether it be commercial or visually pleasurable. Good design is something that affects you in a very emotive way. For me, for example, visual comfort is just as important as physical comfort. I am very attracted to symmetry and also to the contrast of economy materials against very expensive ones. These are elements that feature constantly in my work.

How would you describe Four IV’s business model? Why has this formula proven so successful (and what part does your reported ‘northern straight-talking’ play!).

Four IV specialises in the creative; the business really focuses on the idea. The teams are concentrated so that we can all interact together. Every member of the company has a specialist skill, whether it be detailing, visualising or brainstorming. The graphic department works in conjunction with interiors – this is a deeper thought-process than normal. Strategic positioning is crucial to ensure that the brand consistently presents its credentials in the defined manner.

I guess the straight-talking northerner goes against typical stereotypes but my clients seek my advice as a retail strategist too, so I need to be able to get my message across succinctly and in a language they understand.
All too often, clients and designers are unable to speak in the same language and that is when briefs aren’t met and goals aren’t understood.

How does Four IV keep its ideas fresh?

In a number of ways, but primarily by keeping our eyes open through travel, exhibitions, a walk, a conversation, a book or even a piece of music. All of these things can be useful. Different things work for different individuals.

For me it’s about understanding the ethos of the brand and telling it as a story.

You’ve done a lot of work in retail. What do you like most about this sector?

The constant challenge – nothing stands still, influences are as varied as the catwalk, and we must keep in tune with all trends and influences. Every time you leave a retail store you should think: ‘There is nothing that I need but everything that I want’.

How fundamental are a store’s interiors to the overall shopping experience, and is store design a key differentiator for luxury brands?

Absolutely. The critical test for a piece of retail design is: Can I recognise the store when the logo is covered up? It may be a colour or a material, the way the product is presented or even the lighting. Individuality is more important than ever today – think of Hermes orange or Armani simplicity.

The environment must reflect and present the product in correct terms with the brand ethos.

You work with some of the most recognised luxury brands in the world. Are there any inherent challenges involved in working at this end of the market?

Individuality. This level of the market has to constantly reinvent and, at the same time, maintain. Service is essential; products and all brand experiences must be totally in sync with the brand ethos. This level of the market is constantly analysed and interpreted by the middle market, so they must always stay one step ahead.

You’ve worked on a number of projects in the Middle East. Have you come across any key challenges that are particular to this region?

The challenges in the Middle East are not really any different from taking brands to international audiences all around the world. It is about creating something new and exciting within the limits of your design environment.

We have found that an element of surprise, of going against the grain, within the limits of cultural sensitivity and taste, has been key to the success of a new space.  Don’t be afraid to experiment, to take a risk, to try something new.

Limited impressions of cultures can often limit our designs – we have found people surprising in their taste and love of the new all over the world, from the Middle East to China. The Middle East has been one of the most surprising places in terms of the complexities and variations of taste and the extent to which society loves and understands fashion and design. Our Naked department store in Istanbul, for example, completely destroyed stereotypes about taste and cultural constraints.

To what extent do you try and take on the cultural relevance of the destination that you are working in? How did this manifest itself in the new Mamas and Papas store at Dubai Mall?

Many global brands make use of their special national characteristics wherever they go and this has been core to their success. IKEA is Swedish through and through – from their design ethic to the meatballs that are served in the canteen. Paul Smith is British tailoring with a hint of the British eccentric.

Its stores echo the traditional and eccentric feel of its Floral Street home – wood panelling, floral designs and the odd unexpected display items such as robots, a story book or the odd shoe. Muji is Japanese minimalism coupled with good design. Its name even means ‘no brand’. It is seen as cheap and cheerful in Japan but has a different positioning in the UK.



These brands build in the aspects of their country that are already associated with them around the world. They play up to stereotype but leave the negatives behind. They have managed to export a distinctly national brand that is relevant to an international market.

In terms of opening a new space in Dubai, design needs to take into account how the country of origin is perceived and how it sees itself. For me, Dubai is about the new, the decadent, the inspirational, and about rebirth.

You are able to get away with a certain decadence and innovation that you would not get away with elsewhere.

However, the crux of good design is maintaining a common denominator that also brings about a sense of recognition and safety.

How did your relationship with the Mamas and Papas brand come about?

From an interview with the two owners. They asked that I speak about their brand and I was very honest. Since then we have formed a very strong bond. A relationship that endures through rough and smooth is one where the benefits are tremendous. Trust is the key.

How should brands be responding to the current financial crisis?

We have found that companies that invest in their brand and retail experience sustain their sales and come out of a recession stronger than the competition. The reason is simple – it reinforces core values that are familiar and reassuring. The world that customers step into feels comfortable and safe, but it is also aspirational and makes them feel like they are living a better life.

It connects with customers, making them more receptive to making a purchase. It adds further distance between your products and those of your competitors. In addition, it gives further reasons why people should buy from you, and it creates something that is very difficult to copy.

In a recession, the way people look at their money changes, as does their approach to spending it. Brands become more important to consumers when times are hard – they look to them for reassurance and for consistency. This is particularly true of premium brands.

People want to feel that their hard earned money is going towards something valuable, something that’s high quality and that will be long lasting.