In conversation with: Matt Carter
Jennifer Latuperisa-Andresen
Trains, to many (although not us), are a means to an end. A way to get from A to B, quickly and efficiently. But to some, they are something else entirely—a world of craftsmanship, history, and quiet luxury, where movement meets design, function and form. Few understand this better than Matt Carter, a train Industrial Design Engineer whose career to date has seen him on the design teams of some of the world's most luxurious carriage interiors. His design ethos is shaped by the rattle of the tracks, the curve of a carriage wall, and the challenges of blending old-world elegance with the technical demands of modern rail. From the sleeper cars of the Caledonian Sleeper to the hidden world of Britain's private trains brimming with luxury, his work is a reminder that the train does not have to be just a means to an end. We sat down to talk all things train design, with particular mention of secret wine cellars, 'crashworthiness' (!!), and Japanese Bullet trains.
Matt's work on Britain's only private train, as featured in World of Interiors.
Q: Can you tell me a bit about you, your background, and how you found yourself designing the carriages for some of the most high-end luxury trains?
Following the completion of an art foundation and a degree in Furniture and Product Design, I had the opportunity to work on a concept design for the seating in new train carriages for the Victoria Line upgrade. This came about because, as part of the final year major project for my degree, I’d been seeking guidance from material specialists at a consultancy. I’d shared my portfolio with the interiors section at the consultancy, and essentially pimped myself for work. At the time, they were bidding to design and supply all the seats to the train builders, Bombardier, who had the contract to build the replacement Victoria Line trains for the London Underground. I was offered a placement for three months to work—and that was the start of my journey.
The work involved creating full-scale prototypes which were fitted to a mockup train carriage. As it turned out, our seats weren’t picked, but came close, and I was offered full-time work with the consultancy. Between then (2003) and 2019, I worked consistently for railway consultants, expanding my experience in Industrial Design and materials specification, as well as regulations in areas such as crashworthiness and material compliance.
In 2015, I was seconded into Caledonian Sleeper to assist with day-to-day engineering tasks, but when they found out I had a creative/design background, I quickly began working with the NewTrains team, acting as a bridge between their Interior Designer and the design engineers at the train builders. This was my segue from commuter trains to a more bespoke and high-end market.
My role at Caledonian Sleeper also involved assisting in the sale of the old carriages (the lounge cars were the last mainline-certified coaches with loose seating, allowing for greater design flexibility). As part of this, I built relationships with the purchasers, one of whom employed me to act as the ’translator’ between the client-chosen Interior Designer and the engineering labourers and artisans, such as bespoke cabinet makers and upholsters. This involved converting two lounge cars into a bedroom with a dressing room, double en-suite and Juliette balcony, and a drawing room with sofas, a library area, a boot room and a kitchenette.
After 18 years in consultancy and inspired to undertake more creative work, I decided to set my own business up in 2020. This allowed me to freelance on this project and numerous others since.
Q: What has been your personal experience of train travel?
Q: What are the unique considerations you take into account when designing a train carriage?
Meeting clients’ aesthetic and functional expectations while working with the constraints of UK rail safety compliance. The UK has some of the most rigorous standards in the world and relatively small carriages (constrained by the countless Victorian bridges, tunnels and other infrastructure, which is much narrower than elsewhere, meaning the cross-section of a British carriage is much smaller).
In the case of bespoke and luxury trains, this can be simple things like making curtains work in a situation where walls aren’t vertical; discretely modifying antique furniture so it can be adequately secured for use on a moving train; and allowing for mod cons like air con and a complex audio system. In addition to protecting from fire, crashes, and toxicity, you have to consider the effects of industrial cleaning products, and the continual vibration from tracks. Everything has to be especially durable, and comfortable.
The dining car of the Caledonian Sleeper train.
Q: What have been some of the highlight train carriages you’ve worked on?
While I think there are some compromises in the finished product, I take pride in the rooms and lounge car of the Caledonian Sleeper—especially as it was such a unique opportunity and considering the limitations that come with the exceptionally rigorous compliance standards for new sleeper trains.
Having said that, my personal highlights are not necessarily the high profile or glamorous ones! I love the challenge of making something work where there are extreme constraints (this can be on time, space, budget, and ensuring safety compliance). Examples include designing an exclusive double shower tray that operates and drains on any angle of tilted track without flooding the bathroom; incorporating bespoke stained glass (which I was given the unenviable task of installing); creating novel storage—a hidden wine cellar in a carriage floor; and a drinks cabinet secreted behind a dressing room wardrobe come to mind.
Q: Has your work taken you to any interesting places or on any train journeys?
My work has taken me all across the UK’s rail network, from as far north as Thurso, down to Bournemouth and Plymouth. And further afield to Eskilstuna in Sweden in midwinter; and northern Spain to Zaragoza in Aragon and Beasain in the Basque Country (loved the people, food and scenery—the latter somehow reminded me of my Derbyshire home). Separate to work, I’ve travelled across Japan on the superfast and ultra-efficient Shinkansen (bullet train) and on the bone-shaking rural lines. The contrast between the two was vast!
Q: What inspires you?
Traditional, quality design. Hands-on skills are so inspiring to see and mindful to practise. I’ve always lived in period properties and collect antiques and retro furniture, undoubtably influencing my decision to study the built environment. For me, it’s not about statement pieces and trends, but rather, the unique and the bespoke—historied pieces with a story.
Spending time outdoors is also really important to me; I have a longstanding love of horticulture and incorporate planting into the garden side of my design projects. And people who listen. I get a real buzz from someone taking a deep interest. I’m drawn to empaths, and those who tread their own creative path, be it a designer, a musician, or a writer.
Q: What kind of travel interests you?
Being able to see where I’m travelling through is important (no matter whether the scenery is beautiful or industrial). And planning journeys to incorporate stop-offs en route—it’s not all about the destination. There’s a practical element to this for me too, as the travelling party usually includes a toddler and a dog! Continental sleeper trains and ocean voyages are on my to-do list for the future.
Matt travelling on the wooden tram from Cantareira to Porto, September 2023
Matt founded Carter Davenport Independent Design Limited in January 2020, offering services to both engineering and domestic clients. You can see more about his work here.
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