anissa kermiche

This London Flat Is the Perfect Mix of British and Parisian Style

Welcome to jewelry designer Anissa Kermiche’s lovely abode.

By: Leah Faye Cooper

Step into Anissa Kermiche’s London flat, and you’ll quickly notice the jewelry designer’s penchants for bright colors, oversized plants, and naked bodies, the latter of which much of her work mimics. “I hate boring and common,” she says—a sentiment that becomes more and more evident as you observe chairs shaped like hands, a photograph of topless women mounted above the fireplace, and a vibrant handwoven rug that was passed down from her grandmother.

Born and raised in France, Kermiche worked as a consultant in the engineering field before moving to London to pursue jewelry design. “[It] was like breaking up with corporate life,” she says of the move. “I was looking for discovering, and as bad as it sounds, I wanted to stay away from the French crowd.” After living in a few different neighborhoods, Kermiche settled in Marble Arch. “There’s noise and pollution, and it’s just what I like,” she says. “It’s buzzing. Quiet streets really stress me out—I need to be constantly stimulated.” As for what drew her to her current apartment, it was a bit of what she was trying to get away from. “It has these high ceilings and wood floors and great molding. It reminds me of Paris [laughs].”

Click through for a tour of Kermiche’s home, her decor philosophy, and the story behind her namesake jewelry brand.


“I feel like, as my fashion style evolved, my interior design style evolved as well. I had that Danish moment where I wanted white walls and Danish design and a lot of light; white rugs, plants—kind of Instagram-like and a bit cliché. Now I’m evolving. I think that in your 30s, you can fully express yourself. But I’m sure at 40 maybe I’ll want like, wallpaper with flowers [laughs].”

“I like pieces with character. That’s sometimes a problem [laughs]. I value design so much that every piece for me has to have something interesting, but when you put them all together, it can look like almost an art gallery or a circus because the vase has hands, and then the table has human-looking feet, and then the chair needs to look a bit human, and the coffee machine [is] red. People come over and say, ‘OK, it looks like an art gallery, it’s crazy.’ But that’s just the way it comes to me.”

“I come from a very, very strict upbringing and had to be kind of covered. When I think about growing up, I always wanted to look glamorous and sexy and attractive. I [was] hiding makeup in my backpack and changing clothes when I would arrive at school. I don’t know if it’s connected to [the art I buy and make], but I’ve always valued women, and I feel like women around me nowadays are—I don’t want to sink into a feminist speech—but I see so many women [who] have so many layers. They’re really independent, they’re emotionally I feel like my home is a tribute to womanhood.”

“This image sums up a lot of things about me. She’s hiding her hair, so it reminds [me of] my Muslim background, but she’s also naked. It says ‘smoked salmon’ in French. It just makes so much sense in my universe. There’s a bit of England, a bit of Islam, a bit of France, a bit of being naked, a bit of being provocative, and a bit of poetry as well.”

“My designs are very selfish. They look like me, like my style. I have a hard time designing for other people. If I designed for someone else, they wouldn’t be things that I would love to wear myself.”

“It’s funny because [the chairs] look very expensive, but I just stumbled on them randomly when I was buying furniture for my office. I bought them on a quite boring online shop, but everyone wants them. They attract much more attention than my expensive chairs [laughs].”

“That’s a first vase from my [forthcoming] design collection. It’s quite hard to expand to another field. Designing objects comes with its own kind of learning and know-how, so I had to learn about ceramics and materials and speak to new producers. But that’s the first one. It’s called Love Handles.”

“[The piece on the wall] is from Ronan & Erwan Bouroullec. The interesting thing about this is that it’s expandable, and it comes in different colors. For me, I chose white. It’s small parts that you assemble yourself and make the shape you want. You personalize it, and it can be smaller, it can be bigger. In some rooms, it covers the whole wall, or it can cover from the wall to the ceiling. It’s kind of like moss growing from the wall, but a beautiful one, and you can just make it grow as much as you want. And it’s in textiles, made of fabric.”

“These are pictures of my body language collection. I printed sketches of my jewelry and framed them. I put my fiance’s face on top. Poor him [laughs].”

“[The carpet is] very old. My mom had it from her mom, and poor unlucky carpet, it was never used because it never fit in any room or went with any color. My mom gave it to me saying, ‘OK, I can’t throw it away. It’s very expensive, but I don’t know what to do with it. Keep it.’ I looked at it and was like, ‘Ugh, OK,’ and I dragged it along with me to London. It was always in storage, and then when I arrived here, it suddenly made so much sense with all of the colors of my living room. It’s beautiful. It’s a Berber rug from the ’50s.”

“[The photo above the fireplace is by] the famous Chinese photographer Ren Hang, who killed himself last year. I have an emotional relationship to [art]. The chairs that are shaped like hands, they come from this random website, but still for me, they are art. This picture, even though I invested a bit more, I don’t think about the value, but really about the beauty of it.”

“I got [the black chair] from a gallery pop-up in Belgium. It’s made of leather. My mom calls it the bean bag [laughs], but I love it. I thought it was a very feminine chair because I felt like it’s a chair that’s going out with a long black gown that has a train. Like it’s a human chair wearing a dress.”

“There was so much already in the other rooms that I wanted [the dining room] minimal. When we have dinner there, I have my mini flower installations and all of the dishes and the nice glasses and candles, and then it becomes crowded; it comes to life.”