Daniel's idea was the spark that started Cavari. Frustrated by bathrooms assembled from mismatched ranges, uneven finishes and ornament passed off as luxury, he felt there was a better way. Pieces made once and made well; brassware, basins and stone that belong together; and rooms that read as one considered decision rather than a series of compromises.

Away from Cavari, Daniel lives in Nottinghamshire with his wife and their two young children, in a house that has been a project of its own for years. Homes have always been his real preoccupation – not just what goes in them, but how they feel to live in – and most of what he believes about bathrooms was learned the slow way, by getting things wrong in his own.

Elliot was the first person Dan spoke to about Cavari, and he has spent every moment since making sure the idea survives contact with the real world. He is the one who follows a piece from first drawing to fitted room: how it's made, how it's finished, how it's packed and how it arrives. His measure is simple – the piece you specified is the piece you unwrap.

Elliot splits his week between Cavari's Nottingham head office and London, where most of his time is spent alongside the designers and studios the brand works with. He sits at the junction between the brand and its clients, and he sees his job simply: making it easy for them to step into Cavari's way of living, not just its catalogue. In his view, a brand like Cavari isn't marketed into existence — it's earned, one project at a time.

Debbie decides everything that goes into a Cavari piece and, crucially, everything that doesn’t. Every supplier, component and finish passes through her hands before it earns a place in the collection – the weight of a lever, the depth of a glaze, the grain of a slab of stone. The restraint and quiet coherence that architects and designers notice in a Cavari room starts with her eye at the point of selection.

Debbie has spent her career buying, and says the job hasn't really changed: find the people who make things properly, and say no to almost everything else. She travels widely for the collection — factories, foundries, stone yards — but she's a sceptic first, and a piece has to survive her doubts before it earns a place in a Cavari room.