Location

48 E Dulwich Rd, London SE22 9AX

Details

Wednesday - Saturday | 10am - 6pm
Sunday | 12-5pm
Monday & Tuesday | Closed

I You All Store| Website

I You All Store | Instagram

IYA Studio | Website

IYA Studio | Instagram ‍‍‍

For creative couple Fleur Paterson and Matt Cottis, design is at the heart of everything they do. With a shared passion that spans graphics, branding, interiors and packaging, the duo have carved out a unique niche in London's competitive design scene with their multidisciplinary design agency IYA and carefully curated design store iyouall. Untold crafts sat down with Fleur and Matt at their Deptford studio to discover the story behind their creative partnership and entrepreneurial journey.

What inspired you to create IYA Studio and iyouall store?

Fleur Paterson: IYA Studio has been going for about 18 years, whereas iyouall store has only been around for six, so the studio came first. Matt and I met as a couple 20 odd years ago. At the time, I was working for a Belgian commercial interior design agency – the only job I ever had.

After finishing my degree in interior design, I went straight to Belgium and worked there for five or six years before returning to London to work in their London office. That's when I met Matt. My boss suggested we come to Antwerp to discuss my return and bring Matt along. He offered to set up a graphic design arm to the studio, so Matt could come and work with us as well.

We agreed and moved to Antwerp, where we lived and worked for a couple of years. During that time, we realized we could live and work together, so when we wanted to come back to London, we decided to set up something ourselves. Between us, we cover quite a lot of disciplines from graphics, branding and interiors to packaging – a bit of everything really.

Between us we cover quite a lot of disciplines from graphics, branding and interiors to packaging – a bit of everything really.

Where does the name IYA come from?

F.P: My best friend from uni, Emma, who's from northern England, was also working with us in Antwerp at the same company. Every time she came into the studio, she used to say, "IYA". When we were talking about names for our new venture, we had loads of different ideas but didn't want anything too serious. We wanted something friendly that we could break down and do something else with. Emma suggested calling it IYA and although at first we thought it was a crazy idea, it stuck.

We liked it because it had the I, the Y and the A which we thought we could use in a different format or way if we were to do something else, connecting directly back to the main source of the name. So when we came back to London, Matt and I sat at our kitchen table and started IYA Studio.

We liked it because it had the I, the Y and the A which we thought we could use in a different format or way if we were to do something else, connecting directly back to the main source of the name.

What was your first project?

F.P: Luckily for us, our first project came from Matt's neighbour in his North London flat. She was starting up a 100% organic beauty brand and needed help with the name, branding, website, interior and packaging. That was our first project – a tiny store on Marylebone High Street. It's how we started, and things just continued from there.

We had our first studio space at the back of Borough Station and started working with some bigger brands like Folk Clothing. We were fans of their clothes and whenever we came back from Antwerp, we'd go into the shop and purchase stuff. We got to know the Managing Director and ended up meeting him and his partner in the pub, showing them our portfolio and what we could do. From there it grew – we started doing their website, helping with branding, interiors and packaging.

How did your relationship with Folk shape IYA's trajectory?

Matt Cottis: Working with Folk has been pivotal for us. It's been an ongoing relationship that has covered literally every piece of branding, collateral and concept. It's always evolving, which has been fascinating. There's no denying that Folk has also helped us win other business, not just tied to fashion but more lifestyle-oriented projects. The way they loosely link to architectural references has been helpful too.

F.P: When we had to leave our Borough studio because the landlord was selling, the guys at Folk said we could put some desks in the back of their stockroom and stay there until we found somewhere else. We ended up staying for eight years in various parts of their business. It worked really well for us because Lamb's Conduit Street had lots of other brands we could collaborate with like Oliver Spencer and Darkroom. It gelled with what we like – being involved in small communities, working with like-minded people who have started businesses from their kitchen tables like us and seeing how it grows.

What prompted you to open the iyouall store?

F.P: The idea for the store came about because when I worked for the Belgian company in London, our space in Shoreditch had a shop alongside the studio. The concept was that we would work with different creatives and makers, set a theme, and they would produce items around that concept for us to sell. For a couple of years, I had my toe dipped into retail and loved it.

Matt and I often spoke about how much I'd love to have a shop again. When we needed to leave Lamb's Conduit Street because Folk was expanding, we decided to look for a space where we could possibly have a bit of retail alongside the studio. We had already started iyouall online, importing Japanese stationery to test the waters.

We wanted to move southeast to be closer to home and the kids' school, and found the perfect space with two doors – one big space where we didn't want to separate studio and shop but have them feel integrated. We loved the idea of people coming in and discovering what we do. We thought it would be a nice way to meet new people and potentially discuss any creative projects they were working on.

We loved the idea of people coming in and discovering what we do. We thought it would be a nice way to meet new people and potentially discuss any creative projects they were working on.

How have you carried the studio's design language through to the store look & feel?

F.P: We had a blank canvas with the space – just a raw shell with exposed brick walls, ceilings and heating. Certain elements we didn't want to touch, leaving the ceilings and lots of walls raw, simply plastering some and leaving them unfinished.

In terms of furniture, we designed everything apart from the String shelving ourselves. The key thing was using basic materials like ply and laminated ply, keeping it really simple. We designed the furniture to utilize one sheet of material, creating the desks, tables and legs in specific sizes to get the most out of the material and minimize waste.

We didn't want anything to be too fixed either, so the space could be completely opened up if needed for an exhibition or event. We could just change it around. That's how we used the space with the shop open to the studio, so people could come in, and we'd talk to them, try to sell some stationery and small homeware, which is what we started with. That then progressed into furniture and bigger items.

What led to your decision to separate the store and studio into two locations?

F.P: We could only do so much with the store in Deptford. Logistically it's a very difficult location, but we absolutely love it here so didn't want to scrap the iyouall concept altogether. As a small team, we weren't able to find another location with both a studio and shop. So we looked for a retail space to have a proper store where people could come and buy things.

The East Dulwich location came up at the right moment. We liked that it was between Peckham and East Dulwich because our target demographic is perfect for that area. We've been there for six years now and people are still discovering us, which is nice. The interior concept carries through the same raw plaster, String shelving, furniture and flooring. There's a design consistency between both spaces.

What challenges have you faced with the East Dulwich store and how have you overcome them? How do you optimize inventory flow and introduce new products in the limited space?

F.P: It's a challenging space because it's on two levels. It kind of works having furniture downstairs and more homeware, accessories and stationery upstairs, but we still get people coming in and saying they didn't realize we had a downstairs. It's a bit of a discovery place, which I like, but it can be tricky. Getting people to the store is also challenging because although it's a location with a small parade of shops, if you know it you know it, if not you drive past and don't see it.

When we first opened, downstairs was the stockroom because we weren't selling much furniture. Then we realized we had a lot of space out front with a big pathway so started placing HAY's Palissade collection there and it kind of kicked off from there. At the time, everyone was asking for Palissade so we were like, this is fantastic, let's see what other furniture we can bring in. We started gradually building up the furniture display downstairs and now it's full.

It's really challenging and restricting when you don't have much space. I get a bit claustrophobic when everything is busy and there's too much stuff. I try really hard not to have too much on display, but inevitably you have more people wanting to be stocked and more brands coming in. I have to say no to so many even though there are lots of brands I think would work, I just don't have the space.

If a brand has a store or excellent showroom in London, it's more possible to stock them because I can send customers there to see pieces I don't have on display. Otherwise, it's very difficult – no one's going to buy a piece of furniture without sitting on it or seeing it in person.

I can't buy in bulk, so it's very much buying on demand – little and often. Furniture is all pre-order because I don't have a warehouse. As a London retailer, a lot of us work like that because space is at a premium. It's very expensive, so we don't have the luxury of a large shop or off-site storage. It literally is on-demand buying, which works. More and more people are used to pre-ordering something, especially with upholstery because it's bespoke and made-to-order anyway with so many variations in colour, fabric and configuration.

How do you replicate the in-store experience online for customers who can't see and touch products in person?

F.P: It's difficult when you're talking about things that you need to feel and see. You can look at a beautiful sofa on a website, but it won't look exactly like that in your space because you have different light and surroundings. Unless you've got an exact replica of the space it's shown in with the same light, it will never look identical.

That's why it's so important for us to have as much as we can in-store for people to come and experience in person, taking samples home to see in their own space because it will look different.

Digitally it's really hard, but we work hard on our website to make sure it's easy for people to navigate, find information and know they can contact us if needed. We also use high-quality photography, which I think is essential to showcase products online.

What's your creative process for product photography and visual merchandising?

F.P: The print-based products we design and sell in-store like cards, wrapping paper and some notebooks are all photographed and art directed by us. Each time we bring out a new card, we generally do a photoshoot for it. I think they all tie together with a certain aesthetic.

That's exactly the same approach I take when buying – I need everything to be coherent and work together. In the East Dulwich store, we block our products by colour. You'll go to one piece of String shelving, and it will be yellow and red. The next will be blue and green. I personally love block colours, forms and shapes. I like things that work.

We try to change our window display as much as possible because that's one place we can mix things up and showcase new products without it all having to be one colour. We use neutral foam blocks that we've painted to merchandise in the window and around the store.

Being clever with display is key because we have no space. We use the String desks to elevate a chair because otherwise it's just on the floor. We're always trying to utilize the space as much as possible to get product out without it feeling too cluttered. I start freaking out a bit then! I think it's nice to see things more spaced out where possible so you can focus without lots of visual noise.

As a small business, what is your process for selecting brands to stock? How do you build those relationships?

F.P: If I take on a brand, I want to be able to showcase their products properly. If they are a furniture and homeware brand, I feel I should at least display some of their pieces, but it's not always possible with limited space.

There are so many brands I'd love to stock, but I have to be really selective. Once I start stocking a brand, I want to build a strong relationship with them and really support their business. I'm always honest and upfront about what I can and can't do in terms of display, so there are no nasty surprises.

I think it's about creating a space people want to come to and have an experience, both online and in-store. Moving forward, I hope people will shop less digitally and come into physical stores like ours to see things in person. You can't get a sense of scale, texture and form online. Even with the best photography, you don't know what that mug will feel like to drink from until you hold it in your hands.

I think there's a bit of a shift happening. People are realizing that what they order online isn't always what they expect when it arrives, so it gets returned, which is such a waste. Come to the store, see it, feel it, we want you to! We want to meet you, talk to you and show you the products we're so passionate about.

Building relationships with people is what I'm really happy about with iyouall in East Dulwich. We have so many local, repeat customers, which is what we've always wanted – to be really involved in that community. We want to be the go-to store for furniture and homeware in Southeast London.

I think it's about creating a space people want to come to and have an experience, both online and in-store. Moving forward, I hope people will shop less digitally and come into physical stores like ours to see things in person.

How does having a furniture and homeware shop help with your interior design projects?

F.P: It helps quite a bit actually because you're cutting out the middlewoman. It gives you more insight into what's available, although it's limited to the brands we stock, so I'm not aware of everything that's out there

When I was doing a lot of show homes, it was brilliant because I could design and specify all the furniture, accessories, everything and go into real detail. I really enjoyed that process and the company gave me a lot of creative freedom.

I also think our shop is a great physical resource for interior projects. If I don't have a particular piece in the store, chances are I'll have it in my own home, so I'm very open. I love people coming over, "I haven't got this table here but come to my house, I've got it". If you want to see it, just pop over for a cup of tea! I feel very relaxed about that because I enjoy interacting with people and building relationships.

The biggest benefit is probably having more control over the supply chain and lead times. When you're working on an interior project, logistics can be a nightmare with products coming from all these different suppliers, all with different lead times, delays, damages, you name it. It's very stressful.

With the shop, I can source a good chunk of items from our own pool of suppliers, which makes things a bit easier. I'm not dealing with so many different people.

It does work both ways, though. The interior projects also feed into the shop because I'm constantly out there seeing new products, meeting with brands and keeping on top of the latest collections. If I see something I really love, chances are I'll bring it into the store. It keeps our offer fresh and current.

The biggest benefit is probably having more control over the supply chain and lead times. When you're working on an interior project, logistics can be a nightmare with products coming from all these different suppliers, all with different lead times, delays, damages, you name it. It's very stressful.

How has your international experience shaped your design language?

F.P: Working in Belgium for all those years felt really freeing, like anything goes. There didn't seem to be any limits to what the team could do in terms of interiors. The company I worked for, and especially my boss, wasn't afraid of anything. He wanted to push boundaries and look at the whole concept, not just interiors but other avenues too, taking in the bigger picture. I was really lucky to work on amazing projects for some brilliant brands.

He was a bit of a maverick, really, with a "just do it" attitude. Don't worry, just go for it. If we needed air hooks, we'd have air hooks to hold it up! He allowed us to be quite creative and not overthink things.

The process was much freer, too. I would do basic drawings, sit with a contractor, and we'd sketch things out. It wasn't so rigid in terms of technical drawings. It was a much more fluid process. If we needed to do a prototype, we'd do it if we felt it was necessary. You'd be very connected to the person building it so you could bounce ideas off each other – will this work? That won't but this might. Okay, let's sketch that detail. It was a really nice way of working.

When I came back to the UK, there was a lot more caution and hesitation. People frowning and saying, "you can't do that". I didn't enjoy that process because it didn't feel natural to me, that organic way of resolving problems or coming up with solutions together. It kills the creative flow. I think that's partly why I've stepped away from the interior design process a bit and feel freer in retail.

What keeps you inspired and motivated?

F.P: Creativity just feels right to me, it's who I am. Even though I'm really involved in the shop now and love the faster pace and interaction with customers, I still enjoy the longer process of working with clients on interior projects.

Speaking with people keeps me buzzy. I'm in the studio Monday to Wednesday but every Thursday and whenever I can, I'm at the shop and I love it. I feel in my element, like I can really use my creativity, whether that's pulling together different fabrics and finishes for a bespoke sofa or getting into the nitty-gritty of an interior project.

I get really excited when new collections come out, seeing how they could work in the shop and fit with our aesthetic. I love the sourcing and curation side of things.

Travel and experiencing different cultures is also really important. There are so many amazing design stores and brands all over the world that you can take inspiration from. Seeing how people live in different places and the local makers and materials they use is fascinating.

I think it's that combination of interacting with people and products day-to-day alongside the bigger picture thinking and creative dreaming that keeps me motivated. There's always a new idea to pursue or design collaboration to explore. That's the beauty of creativity, it never stops!

I think it's that combination of interacting with people and products day-to-day alongside the bigger picture thinking and creative dreaming that keeps me motivated. There's always a new idea to pursue or design collaboration to explore. That's the beauty of creativity, it never stops!

As a creative entrepreneur, what advice would you give to your younger self?

F.P: Probably to be a bit more confident in what I'm doing and really understand that I know what I'm talking about. Don't doubt myself so often. I think that would be one big thing I'd say because I'm always conscious of not wanting to disappoint or upset anybody. I don't like confrontation, so being more self-assured would be good.

Otherwise, I've had a really lovely career and worked on brilliant projects that I'm proud of, so that bit I wouldn't change. I'm not an academic, I'm a visual, creative person. I'm dyslexic, so I have to do everything visually, which is a gift but also really frustrating, especially for Matt! I don't remember names, places, or anything I've read. If you give me an article, it's gone!

M.C: I never studied design, so have just learned by doing. I'm really confident in our abilities as a studio, but I think we've probably been a bit too humble. We find it difficult to really shout about what we do, and haven't pursued things like speaking engagements or awards enough. We're quite happy going about our business, but who knows where being more prominent in the London design scene might have taken us. We're a bit introverted in that way, but I think we should probably show off a bit more!

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To immerse yourself in the creative universe of IYA Studio and iyouall, follow their journey on Instagram @iyastudio and @iyouallstore, and if you're ever in Southeast London, don't miss the opportunity to check out their store in person.