Do you think it was fate that brought you together?
Yes. It reminds me of the film Jason and the Argonauts where people were magnetically drawn to each other. I felt like there were some Gods moving us together. It was remarkable how we were having this same quality fuelled, focussed direction. I thought I was the only one who had all these big ideas. People would say I was mad that it would never happen but we’ve proved them wrong.

How did you make it happen? How did you set up Saint Hill couture as a business?
We wrote a business plan, we knew exactly what we wanted and were looking for funding. We started in out in a small flat in Hampstead – from there we got to the cockpits arts which is an amazing place in Holborn where we stayed for a couple of years. We were in a dilemma and needed to move so when the opportunity came to move to Belgravia, we went for it and stayed there for a year and a half but we didn’t have a shop front so the business started to die. It was just like a house with no advertising whatsoever. We had the address but no presence at all.

Our landlord put up our rent 100 per cent so had to find somewhere else immediately, which is how we found this place which was up for grabs. There were a lot of other people interested, but the people who own the land liked our profile and here we are – for ten years!

So how vital was it to open a shop in Belgravia, particularly in this area?
People wouldn’t take you seriously. You always hear the saying, ‘Location, location, location’ and if you don’t have a location it’s not happening. The first thing that comes off people’s lips is, ‘Where are you based?’ If we told them we were based in Cock Pits Arts they’d walk the other way and think you were not serious. We’re very fortunate to have this place.

So once you opened the Belgravia store how did the business grow from there?
With no money, opening a shop in Knightsbridge, with just fingers crossed. We went to our bank manager as we had no money so we managed to secure some finances which we used to lay down the floor, put the lights in, and refurbish the whole place. We did it all ourselves – we went to the DIY shops, we sourced all the colour rendering lights – it was a fantastic experience. We had fantastically made clothes but people weren’t interested as we weren’t a brand. It was one of the most hurtful things to say we weren’t a brand but they liked what we did. That was the turning point which made us decide to go to Paris – not to become a brand but to be recognised as a luxury product. We cannot call ourselves haute couture without the federation of the couture chamber saying we are. After Paris, once we receive our stamp of approval we will then be haute couture, we have the right skills to execute it.

What will haute couture mean to your business?
We’re looking at our company to be a global luxury brand. We want to do jewellery, perfume but everything takes time. We want to grow it with ethical values, it’s not about earning a quick buck but about our clients knowing what they’re buying. We’re organic, we’re not making anyone suffer by exploiting anyone, or polluting the world, we’re offering women a beautiful wardrobe with all the accessories – and it’s great value for money. Something that they bought five years ago they can wear now. Why not have vintage for yourself now? When I look at some mass production pieces and the way it’s been made, the poor workmanship, the terrible fabrics – I see the marketing people as magicians where they can turn something awful into a profit. It’s satisfying to know that we’re ethically making products of the highest quality in the most beautiful way. We pride ourselves in making beautiful things. Britta and I are perfectionists. This is the product, this is the price, if you cannot afford it it’s not for you.

What’s it like working and living with Britta who’s not just your business partner but your life partner?
Tom and Jerry- that’s the only way I can describe it [he laughs]. Sometimes she’s the cat, sometimes she’s the mouse and vice versa. 24 hours, seven days a week – like anything it’s very hard.

From a business perspective does it work?
From a business perspective it works very well. I see her from the morning to noon to night all the time so to be in that kind of situation it takes a very special person for myself and for Britta. I think because of our love for the industry and what we believe in I think that makes a big difference. We share the same passion and the same direction but it’s not easy you have your up and your downs. But I’ve come to the conclusion that life is short, make the best of what you can.     

Tell me about the infamous off the shoulder dress for Princess Diana.
I was 16 when I was working with Hachi, a Japanese designer. I had asked him so many times if I could work with him but he always said ‘No’ but I was very persistent and kept going back so finally he got me to water the flowers, clean the toilet, make the tea – all the unearthly things that you do. While I was there I did a series of sketches which were then put in a folder. The princess saw the dress and she liked it. As I understand, the princess wore it six times and it was one of her favourite garments. After ten years it became vintage and she took out her vintage and still wore it time after time, the effect was wow – this is how I like to see couture.

What have been the biggest challenges in setting up your business?
The uphill struggle that we had was getting people to understand our product. It’s couture with flawless fabrics and when you transform that into a garment of desire, people are not spontaneous, they want to know what the label is, where it has come from. I find the French much more spontaneous, if they love it, they’ll buy it, they know what they want. If the fabrics are wonderful and the cut is amazing they’ll discover you, start to wear your things and start to talk about it – this is how the brand gets built. It isn’t about which celebrity is wearing it. A master is when you can transform the ugliest person into making them look absolutely beautiful through colours, cut and fabrics – that is a genius.

How do you place value on your clothes?  
From the quality of the fabrics to the highly skilled machinist who puts the whole jigsaw of the garment together and the concept of the colour theory, how we sit down, drape, cut all of theses things are taken into consideration and it takes time. Britta has the rare and highly talented skill of drafting a pattern from nothing, whereas I couldn’t do that, I need blocks – I really admire her to be young and having that skill. In her eyes, you measure to your customer’s specifications then you make it from nothing, which is unique.

Where do you source your materials?
There’s a show every six months called Premier Vision in Paris – it’s where all the mills and manufacturers come together in one house and they’ve got prediction boards which has little bits of fabric, like a teaser, where you can look and feel the texture and if you like it you can mark down where it’s from – there’s so much to learn. You can spend a lot of time looking at different things and having a big mountain of cloths which you then have to trundle home. It’s very much about hat you like personally that makes a difference, but sometimes you need to look at the client and see what suits them

How easy is it to be successful in fashion?         
There’s a lot of wonderful, talented designers coming out every single day – in this day and age I feel sorry for them. I’ve been through hell and back and now I’m very grounded and calm. Five per cent of the time I design garments, the rest of the time I’m doing other things; sourcing, going to the bank, trying to run the business, talking to Britta about designs, reading lots of newspapers. We’re lucky, I’m versatile, you’ve got to know how to communicate with people and learning to look at things from all kinds of angles.

What’s it like being an ethnic minority running a business, is it more difficult?
It’s a struggle but what I’ve done quite recently is change my karma. Sometimes people do have prejudices, it could come down to fear or not understanding. I think being a black guy has actually helped me I see my colour has made me feel awkward I see it as something special, as an advantage where people are looking at me in a different way.

What’s been your inspiration and motivation in business?
Britta, Britta Britta. Sometimes I could be the laziest person, running away from responsibilities, but she motivates me, she’s like my anchor and says, ‘Come on! You’ve got to do it.’ we’re like Yin and Yang and she’s like Jeckell and Hyde. She can be soft, where I can be hard and vice versa. I’ve learnt a lot from her being my partner in business. I’m still a very shy person but in terms of challenging everyday things, she’s been my anchor. She tells me, ‘Stop being so airy fairy – do something.’

You were recently awarded the People’s choice awards at the Culture to Couture fashion show. How important is that award to your business?     
I think it’s one of the biggest flatteries that I’ve had, I was very taken aback. Out of 18 other designers was completely gobsmacked. I think we won because we transcended our energies.

What are the business ambitions of Saint Hill couture?  
After the Paris couture week I would like to have a shop in Paris within the next ten years and would lie to continue to grow into Paris and other major cities. I would also like to go into menswear and change the way men look at clothes. There are some serious things going on in terms of new styles being cut away from the old fifteenth century style. Perfumes would come later. I’d like to introduce a prêt a porter deluxe range and keep the brand very strong with our identity, quality and ethics.

How have you found the transition from initially being an artist to essentially being a business man?