Karndean Commercial, the UK’s trusted supplier of luxury vinyl flooring, has updated its popular Van Gogh collection with six new nature-led designs and an innovative parquet-style Pavilion Panel format. Curated to make it easier than ever for designers to meet the growing demand for characterful yet accessible flooring, the refreshed collection has been shaped by a deep respect for material provenance and offers a refined portfolio ideal for calming biophilic spaces that focus on connectivity and wellbeing.
Featuring balanced tones for sophisticated modern spaces, luxurious details, and premium finishes, the updated Van Gogh collection welcomes new Après Oak, Urban Elm and Prime Oak designs in a choice of formats, giving designers greater flexibility to create interiors that feel authentic, timeless, and emotionally engaging.
Richard Allen, VP of sales for commercial at Karndean Commercial, said: “Our new Van Gogh designs offer our strongest aesthetic identity yet. Each design is rooted in genuine material inspiration and has been carefully curated to deliver cohesive design stories that translate effortlessly into the latest interior trends.
“We have also taken the opportunity to simplify and refine the Van Gogh collection, creating a more intentional and easier-to-navigate collection. The refreshed palette offers clearer differentiation and a more balanced spread of tones, helping designers make decisions faster and specify with greater confidence.”
Drawing inspiration from original samples selected for their character, rarity and long-term relevance, the collection introduces new natural wood tones and authentic textures. With outstanding versatility to create intriguing and engaging interiors, the new Van Gogh collection offers craftsmanship rooted in the serenity of nature and refined design.
The new Après Oak collection, inspired by Bavarian oak from southern Germany and the drama of its alpine origins, is available in three colourways: Honey Après Oak, Cocoa Après Oak and Sable Après Oak. Spanning honeyed gold and caramel tones through to rich tobacco hues, each design benefits from a new directional emboss which enhances authenticity and highlights the distinctive character of the wood, while a new Pavilion Panel offers designers fresh options for introducing layers of visual interest.
Inspired by the fields, forests and rolling hills of Indianapolis and celebrating the expressive grain and organic appeal of a now-rare species, Indy Urban Elm showcases its rural roots through a distinctive varied grain and imperfections that feel entirely natural. Rich in character, this design introduces a grounding warmth that sits comfortably within contemporary interiors.
Building on the popularity of the existing Natural Prime Oak design, Van Gogh’s summer 2026 update expands the collection with two new colourways. Truffle Prime Oak introduces striking tonal variation, blending fresh ash-beige highlights with rich chocolate-brown accents to create a comforting foundation in soft neutral spaces, while Linen Prime Oak offers a lighter, more understated aesthetic for a refined backdrop in restrained rustic interiors.
Each new design is available in both full plank (48" x 7") and herringbone (18" x 4.5") formats, with the three Après Oaks also available in a 24" x 24" Pavilion Panel, designed to deliver the appearance of an intricate parquet floor without the complexity of installation.
With a practical 3mm thickness and robust 0.55mm wear layer, the latest Van Gogh designs deliver all the durability and ease of installation that commercial specifiers expect from the Karndean brand.
The refreshed collection also supports responsible specification through low VOC credentials that help protect indoor air quality, alongside long-lasting surface protection that reduces reliance on harsh cleaning chemicals. As part of Karndean Commercial’s ongoing commitment to sustainability and product longevity, specifiers also benefit from a take-back scheme for clean installation offcuts and up to 20 years’ product warranty in commercial environments.
Combining authentic material inspiration, versatile formats and an organic palette designed around wellbeing and contemporary biophilic trends, the updated Van Gogh collection offers commercial designers a refined flooring solution that balances aesthetic appeal with longterm performance.
For more information and to request full size samples, visit karndeancommercial.com
About Karndean Designflooring
Karndean is a global supplier of commercial and residential luxury vinyl tile flooring. We’re an industry leader in flooring design, offering a wide range of colours, textures and finishes, helping you create unique looks that are both stylish and practical; guaranteed to last. We see flooring differently. We travel the world in our quest to bring you exceptional floors that inspire and delight. From the ancient forests of Europe, to the remote Australian outback, we seek out expressive and intriguing forms in the natural world to influence our unique floor designs. By combining original features with cutting edge design, we create beautiful floors that bring your vision to life and take our clients on an endless journey of design discovery.
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Bruna Spahiu, Founder & Design Director of Baucroft Design, has given her insights into the industry.
I am the founder of Baucroft, a London based interior architecture studio. My education in architecture, together with years of practice, has drawn my focus towards the interior world, the point at which a building becomes a lived experience. The studio bridges the technical and the aesthetic: we guide residential projects from planning and building regulations through interior design to construction under one roof, ensuring the design intent is protected from concept to completion. Baucroft's interiors are defined by quiet aesthetics, natural materials, considered proportions and restraint over trend. Our expertise lies predominantly in residential refurbishments and new interiors across London and the Home Counties, alongside international projects across Europe, with ambitions to extend our work to the Middle East and beyond.
My route into interiors was through architecture. However, what drew me from the beginning was the point where the technical and the sensory meet, where a detail on a drawing becomes something you touch every day. I was never satisfied designing a building and handing the inside over like an empty shell; the shell and the interior are one continuous idea, and separating them always felt like an unfinished sentence. Interior design, for me, is where a project becomes personal and intentional. It is the layer of a building that people actually live with, the light, the materials, the proportions of a room at eye level, and I wanted to be responsible for that layer, not just the structure holding it up.
Material selection, without question. There is a particular pleasure in composing a palette of oak against honed stone, linen and unlacquered brass, and knowing how those surfaces will age together over a decade, not just how they photograph on day one. Because Baucroft carries projects through to construction, I also genuinely enjoy the delivery stage. Watching a schedule of materials become a physical room, and being on site to make the small judgement calls that protect the design intent, is deeply satisfying. And I enjoy the client relationship itself: earning the trust that allows you to say less is enough, and then delivering a space that proves it.
Completing a house refurbishment in Buckinghamshire, has been the defining moment of our year. We held the project from the first planning drawings through to the final handover, reconfiguring the ground floor around natural light, and carrying one restrained palette, through every room so the house reads as a single, calm idea. What made it memorable was not the finished photography but the handover itself. The client paused in the open plan kitchen, ran a hand along the joinery, and said the house finally felt like theirs. That response is the entire point of the profession. And this quarter brought a second milestone: joining the SBID community through accreditation, an independent benchmark of the standard we hold ourselves to and the start of a new chapter for Baucroft.
Full residential refurbishments where we hold the project from planning through to completion. When the studio is responsible for the architecture, the interior and the delivery, nothing is lost in translation, the junction detail drawn in month one survives to handover, and the material palette is protected from a hundred small substitutions. I am especially drawn to projects with a quiet brief, clients who want restraint, longevity and a home that feels resolved rather than decorated. London's housing stock suits this beautifully. There is real satisfaction in taking a tired Edwardian or interwar house and giving it a calm, contemporary interior that still respects the building's bones. On the other hand we want to explore further into hospitality, having project briefs like luxurious hotels in Spain, is a very exciting step stone into the high- end world of interiors.
Protecting design intent through the realities of construction. A scheme can be impeccable on paper and still be undone by a substituted material, a compressed programme or a detail value-engineered away, which is partly why we carry our projects through to delivery ourselves. The regulatory landscape is another constant challenge: planning timelines, building regulations and, increasingly, sustainability requirements all have to be woven into the design process early rather than bolted on. And there is the quieter challenge of managing expectations in an image saturated market. Clients arrive with folders of references; part of the job is translating that inspiration into something coherent, buildable and genuinely theirs, which sometimes means gently editing out as much as we add.
That the profession is as much about communication as it is about design. Early on, I assumed the quality of the work would speak for itself; in practice, a project succeeds because of how clearly you explain decisions to clients, contractors, planners and suppliers at every stage. I also underestimated how much of running a studio sits outside design: fee proposals, programmes, cash flow, insurances, pre-qualification platforms. None of it is taught in enough depth, and all of it determines whether good design ever reaches the site. Lastly, I wish I had known how long the quiet, unglamorous years last, and that they are not a detour from the career, they are the foundation of it.
Learn how buildings are actually put together. Spend time on site, understand construction sequencing, read the manufacturer's literature, ask the joiner why a detail will not work. Taste can be developed and software can be learned, but the designers who earn lasting trust are the ones whose ideas survive contact with a building site. Technical fluency is also what gives you creative freedom; you can only bend the rules confidently once you understand them. And a smaller, related tip: develop a point of view and hold it. A clear, consistent design language, applied with discipline, will serve you far better than chasing every passing trend.
I expect the movement towards longevity to strengthen. Clients are increasingly asking how a space will feel in ten years, which favours natural materials, repairable finishes and restrained, well-made interiors over disposable styling or seasonal trends. Sustainability will continue shifting from a marketing line to a technical requirement, embedded in planning and building regulations, and designers who understand that framework will be at a real advantage. I also think the boundary between design and delivery will keep blurring: clients want fewer hand-offs and a single accountable team, which plays to integrated studios. And while AI and digital tools will streamline the production side of practice, I believe they will make the genuinely human elements of judgement, taste and trust more valuable, not less.
It means accountability. Accreditation is a public commitment to a standard of competence, professional conduct and continuing development, and I find that clarifying rather than constraining. For clients, it offers reassurance in an unregulated profession: an independent confirmation that the studio they are trusting with their home meets a recognised benchmark. For me personally, it connects Baucroft to a wider professional community, which matters when you lead a studio; the exchange of knowledge, standards and peer support is something a small practice cannot generate alone. Above all, it reflects how I want the profession itself to be seen, not as decoration, but as a discipline with real technical and ethical weight.
About Baucroft Design
Baucroft is a design studio specialising in refined, quietly luxurious interiors. Led by architectural thinking and delivered by an experienced in house team, the studio takes projects seamlessly from first concept to final styling. Every scheme is shaped around how its owners live, expressed through a restrained palette of natural materials: warm timber, honed stone, soft linen and considered light. From full-house transformations to bespoke hospitality interiors, retail spaces, Baucroft brings precision, craftsmanship and calm to every detail. The result is interiors that feel effortless, timeless and unmistakably personal, designed once and made to last.
Recently, Deirdre Hayes, Founder of Studio Hayes, has been speaking with operators exploring the US market. Hawksmoor and Sexy Fish have helped demonstrate the appetite for UK hospitality in the US, while Dishoom's planned New York opening suggests confidence in the market is still growing. Competitive socialising concepts such as Flight Club and Electric Shuffle have also shown that the model can scale successfully in the US. I worked in-house on US projects for several years, leading interiors for Flight Club's expansion into the American market and overseeing the rollout of Electric Shuffle from its first US site onwards. It gave me a direct view of the commercial reality of delivery across different markets, not just from a design perspective but from an operator perspective too. Having worked across a range of US markets, what follows are some of the insights I gained from that experience.
Many operators begin a US expansion conversation with the brand and the city, but not every market presents the same level of opportunity or complexity. For some, faster-growth US markets may offer a more accessible first step than cities such as New York or LA, where costs, competition and delivery complexity can all be higher. Market selection often needs as much strategic thought as the concept itself.
What became clear on projects was how long it could take to find the right site, and how much site selection shaped everything that followed. The building stock in US cities can be quite different from what UK brands are used to. In the locations likely to be targeted by operators, the available space is often in newer mixed-use developments, with floor-to-ceiling glazing, larger open footprints and less built-in character to draw from.
Many UK venues benefit from the texture and spatial character of older buildings. In newer US shells, that backdrop is often absent, so the interior has to work harder to create warmth, depth and atmosphere. This becomes even more challenging where full-height glazing is present, as it changes how a space feels and performs. Light is harder to manage, intimacy is harder to achieve, and the right atmosphere may take more work to create. For competitive socialising concepts, it can also affect technology, projection and other digital elements that rely on controlled light levels.
Brand adjacencies play a part too. The surrounding operators and uses influence footfall, perception and overall fit. If a similar offer has already found traction nearby, that can give greater confidence in the location.
Including a design feasibility review as part of due diligence is worthwhile. Floor space, column grid and glazing all have a bearing on how the space functions and performs, and the commercial impact can be significant. The lease process can add to this complexity, particularly where landlord design approvals are required at several stages.
The brands that perform well in the US have a clear grasp of their own DNA. They know what is fundamental to their concept and what can be adapted thoughtfully to suit a new market, a different building type and different guest expectations.
Bar seating was one of the clearest examples of that for me. In the US, bar seats are often used for full dining occasions, not just drinks or waiting for a table. That makes the bar a more important part of the guest experience and affects how it should be planned, from comfort and proportions to service and food delivery. If it is not considered at planning stage it may never perform as well as it should.
Scale presents its own challenges. US sites often offer larger footprints and different spatial conditions from what operators may be used to at home. An interiors scheme that reads well in one setting can land very differently in another. Layout, lighting, acoustics and circulation all need to be reviewed carefully, particularly for competitive socialising concepts where activity, dining, bar and technology all need to work together.
The ones that translate best feel rooted in their location rather than simply transferred into it. That comes from making the right adaptations from the beginning, so the result is a concept that feels integrated, commercially sound and true to what made it successful in the first place.
Once a site is secured, the delivery process may feel broadly familiar. In practice, however, US projects often require more time for documentation, approvals and permitting ahead of construction. Permitting often needs to be treated as a programme stage in its own right, as timelines and requirements can vary significantly between cities and jurisdictions. Local code input can help teams identify compliance, fire life safety and accessibility requirements before they become a source of delay, redesign or added cost.
Construction costs in major US cities are higher than in the UK, so it is worth building in additional contingency. Labour structures and local requirements can all affect cost and programme. Joinery is worth resolving sooner rather than later, as some operators prefer to work with UK makers who know the brand and understand the level of quality and detail expected, while others source locally for speed, simplicity or programme reasons. The decision should be measured against quality, lead times, shipping, customs and the current tariff landscape. Lighting warrants the same consideration: some operators may want to work with UK suppliers to maintain consistency in look and quality, but fittings still need to be suitable for the US market and aligned with the relevant technical requirements. Clear documentation and change control can make a significant difference as the programme progresses, especially when multiple teams and time zones are involved.
Many operators will manage at least part of a US project from the UK, so the time difference needs to be factored into resourcing planning. From my own experience, even small decisions could take longer across time zones, and if UK projects were running at the same time, it often meant switching between different markets, priorities and working rhythms while also covering more than one role.
For some operators, a short-term relocation during key stages of delivery may make sense, so someone from the home team is on the ground when decisions need to be made quickly.
In the US, the equivalent of snagging is usually referred to as a punch list. The principle is similar, but the closeout stage is often more formal and closely tied to documentation and final payment. Defining what “done” looks like before construction, in terms of finish, sign-off and handover requirements, helps avoid ambiguity at a stage when time and goodwill can both be in short supply. A post-opening review is worth allowing for once the venue is in use, when lighting, acoustics and service flow can be tested under real operating conditions.
No project is ever completely plain sailing. There are long days, late phone calls, problem solving on site and points when delivery can feel relentless. But there is a moment when the project starts to turn a corner. Joinery is fitted, refinements are made and details that have existed on paper for months begin to emerge in the built space. The scheme reveals itself and the pressure lifts. In those quieter moments on site, as the build team resolves the last few details, the outcome becomes more tangible. In the end, that is the part people remember: not the approvals or paperwork, but the atmosphere, the detail and the experience of a space carefully brought to life.
The US remains an exciting market for hospitality brands. American guests have a real appetite for what UK brands often do well: bringing more than a menu, with a distinct identity, rich storytelling, design confidence, attention to detail and a sense of occasion that makes the experience worth seeking out.
What often separates a venue that opens well from one that struggles is not the offer itself, but the level of preparation behind it: understanding the market before committing to a site, building the right team from the start and going into delivery with realistic expectations.
This is where UK hospitality can be especially effective. At its best, it combines a clear design point of view with good food and drink, thoughtful detailing and a well-considered guest experience. With the right groundwork in place, more brands can succeed in the US. The venues that feel effortless are usually the result of good decisions made early, long before the doors open.
About Studio Hayes
Studio Hayes is a London-based, director-led interior design consultancy specialising in commercial interiors, including hospitality, leisure, and retail environments. With over eighteen years of experience across Ireland, the UK, USA, and Australia, the studio delivers distinctive interiors that balance creativity with commercial insight. Every project is overseen at director level from concept through to completion, ensuring consistency, quality, and a deep understanding of each client’s vision. Studio Hayes partners with brands and individuals to create spaces that are purposeful, beautifully crafted, and designed to connect people, from small refurbishments to large-scale hospitality rollouts and unique one-off projects.
Natasha King, Founder & Principal Designer at Styled Home Design, has given her insights into the industry.
My career began in the corporate hospitality sector, where I spent over a decade working in marketing roles for some of the UK’s largest hospitality brands. Over time, I progressed into a Head of Guest Experience position, where interior design naturally became central to my role. Understanding how guests interacted with a space, what encouraged them to stay longer, and how environment influenced spending and behaviour was key. This involved navigating commercial spatial planning from both guest and operational perspectives, considering everything from layout and lighting to materiality and even scent. That experience gave me a deep understanding of how design directly impacts emotion, behaviour and performance, knowledge that now underpins my approach to both residential and hospitality interior design.
I have always been deeply fascinated by how spaces make people feel. From a young age, I was drawn to architecture and design, how buildings are constructed, why spaces are laid out the way they are, and how materials influence atmosphere. Growing up, I moved home several times, and I instinctively created a sense of sanctuary in my own bedroom or personal spaces. Those environments gave me comfort, grounding and security, and I realised how powerful that could be. That understanding has followed me into adulthood, where my home remains incredibly important to how I feel and function day to day. Interior design allows me to combine creativity with psychology and practicality, creating spaces that genuinely support people’s wellbeing, lifestyles and emotional needs.
While I love the entire design process, seeing a project come to life is without doubt the most rewarding part. Watching an idea evolve from concept to reality, and knowing that it has enhanced a client’s wellbeing and everyday life, is incredibly fulfilling. Interior design is not just about aesthetics; it’s about shaping how a space is experienced and how it functions long-term. Being able to influence the interior architecture of a building, improve flow, introduce thoughtful details and ultimately deliver a home or space that truly works for its occupants brings me immense satisfaction. That moment when clients walk into their finished space and feel understood is what makes the process so special.
One of my most memorable highlights has been seeing my business continue to grow and evolve. Styled Home Design is approaching its fourth year, and even within that time, I’ve seen it transform through experience, projects and client relationships. Every project shapes the studio in some way, refining our processes, our confidence and our approach. I’m constantly adapting, learning and raising the bar, both creatively and professionally. That ability to evolve, rather than standing still, is something I’m incredibly proud of. Building a business that continues to mature, challenge me and deliver increasingly refined work has been one of the most rewarding aspects of the past year.
I primarily work on residential projects, particularly long-term full home renovations. I often say that I don’t have a signature design style, our signature is our approach. We place the client at the heart of everything we do, which means no two projects look the same. Full renovations allow us to really get to know our clients and design homes that reflect how they live, not just how they want their space to look. Alongside residential work, I also love boutique hospitality projects, drawing on my background in the hospitality industry. These projects often allow for more creative freedom, as they are less emotionally driven than homes and offer exciting opportunities to inject personality and bold design choices.
Coordination is by far one of the most challenging aspects of the profession. The number of decisions involved in any project is vast, and the behind-the-scenes work is something many clients don’t fully appreciate until they experience it first-hand. Managing contractors, suppliers, timelines, budgets and design intent simultaneously requires constant oversight. There are so many moving parts, and without experience, it’s easy for projects to become overwhelming or costly. This is often where clients truly see the value of working with a professional designer, our role is to manage complexity, anticipate issues and ensure everything aligns seamlessly, allowing clients to feel supported and confident throughout the process.
I wish I had fully understood just how small a percentage of the role is design. In reality, design is only a fraction of what we do. Project coordination, procurement, budgeting, client management and problem-solving account for the majority of the work and are what truly hold a project together. I also wish there was broader public understanding of what professional interior design really involves. As an industry, we still have work to do in educating clients on the value and expertise required, especially when managing significant financial investments. Organisations such as SBID play a crucial role in raising standards, providing accreditation and helping to professionalise an industry that lacks formal regulation.
Earn your stripes but then know your worth. Most creatives are deeply passionate about what they do, and that passion can sometimes be taken for granted. Early in your career, it’s important to gain experience, build a portfolio and learn the realities of the industry. However, there comes a point where you must value your expertise, time and knowledge. Being confident in your worth and setting boundaries is essential for longevity and sustainability in the profession. Loving what you do shouldn’t mean undervaluing yourself.
I believe there is still a long way to go in educating clients about the true value of interior design, particularly in the UK. Compared to Europe and the US, where working with an interior designer is far more commonplace, we are still behind. I would love to see the industry become more professionalised and trusted. I often explain to clients that hiring an interior designer is like hiring any professional service, it’s sometimes not because you can’t do it yourself, but because your time is valuable and the expertise helps avoid costly mistakes. Once clients experience the process, they quickly understand the complexity involved and the value professional design brings.
SBID accreditation represents professionalism, credibility and trust, qualities that the interior design industry truly needs. It provides clients with reassurance that they are working with a qualified professional who meets recognised standards and operates with integrity. For me, it aligns perfectly with my belief that interior design is a serious profession involving large financial investments and complex decision-making. SBID helps bridge the gap between public perception and professional reality, and I’m proud to be accredited by an organisation that champions excellence and raises industry standards.
About Styled Home Design
Styled Home Design is a Cambridge-based interior design studio specialising in luxury residential renovations and bespoke commercial interiors. We work with private homeowners, developers, and businesses who want beautifully considered spaces without the stress of managing the process themselves. Our approach is collaborative, design-led, and detail-driven, balancing timeless aesthetics with practical, liveable solutions. From concept development and spatial planning through to detailed specifications, procurement, and project management, we oversee every stage to ensure clarity, quality, and confidence. Each project is tailored to the client, resulting in refined interiors that feel personal, functional, and enduring.
Dr Esther Milardi, Design Director of Di Oro Interiors, has given her insights into the industry.
I moved from Italy to the UK in my twenties to study Comparative Literature and explore the relationship between identity and forms of visual and written expression. During this time, I became fascinated by how emotions powerfully shape daily experience, memory, and our sense of self.
This sensitivity to emotional depth and storytelling naturally guided me towards interior design and visual art, fields I had long been drawn to. In 2016, I founded Di Oro Interiors, bringing together a passion for creating emotionally resonant spaces with an intuitive understanding of how interiors and art can reflect, support, and inspire individual identity.
Interior design felt like a natural meeting point between my academic background and the elements that have always guided me, namely emotion, storytelling, and beauty shaped with purpose. I see interior design as a powerful form of communication, much like other artistic forms of self-expression, where spaces shape our experiences, identity, and sense of belonging. This understanding is what drew me to the profession, as well as a desire to move beyond the narrow perception of interior design as purely decorative or trend driven.
At the heart of my work lies in fact a genuine passion for helping clients realise that the spaces they live and work in should be more than a clever combination of furniture. They should at heart reflect the depth of who they are. It is my firm belief that it is only when environments are informed by personal memories, values, and individual rhythms, that they become places that nurture creativity, offer peace, and support everyday life.
What I enjoy most is the deeply human side of design, the conversations, the listening, and the gradual uncovering of what truly matters to a client. I love the moment when a project moves beyond surface preferences and into emotion: memories, daily routines, and dreams. That is where design becomes meaningful.
I am particularly drawn to the early conceptual phase, when ideas are still fluid and the narrative of a space begins to take shape. Translating intangible feelings into colour, texture, light, and form is both challenging and profoundly rewarding.
One of the most memorable highlights of the past year was designing a medical and aesthetic clinic across three floors. The project was especially rewarding when inspectors were so impressed by the overall design and functionality that they elevated the clinic to the level of a day hospital. This recognition was incredibly affirming for our team and deeply meaningful for our client.
What made the experience even more special was the trust the client placed in us, shaped by her response to a previous space we had designed for her. She had described that earlier project as feeling like “walking into Narnia,” a place where she felt happiest and fully recharged at the end of her working day. Knowing that our work could consistently create environments that meet strict professional standards while also offering emotional comfort and renewal made this achievement particularly memorable.
I am most drawn to residential projects and intimate commercial spaces where a strong emotional narrative can unfold. Homes, in particular, hold layers of personal history, making them incredibly rich creative territory. I love working with clients who are open to introspection and collaboration, those who see design as a journey rather than a checklist.
Ultimately, my favourite projects are those where trust is present and where the design process becomes a shared exploration of identity. These are the projects that result in spaces that feel timeless, meaningful, and deeply lived-in.
One of the greatest challenges I encounter is managing expectations in a world increasingly influenced by fast trends and curated imagery. Helping clients move beyond Pinterest-style references and towards a more personal and lasting vision involves patiently encouraging reflection rather than instant decisions.
I would have reminded my younger self that building a practice takes time. Developing a distinct voice, attracting aligned clients, and refining a philosophy is a gradual process. Trusting that journey and staying true to one’s values is far more important than rushing towards quick success.
My advice would be to develop your sensitivity before your style. Trends change, but your ability to observe, listen, and understand people will remain your greatest strength. Interior design is ultimately about people, not products.
Take time to explore who you are, what moves you, and what stories you want to tell through space. Build a strong foundation by learning the technical aspects of the profession, but never lose sight of emotion and meaning. Be curious about art, literature, travel, and life, all of these feed good design.
Most importantly, be patient with yourself. Confidence and clarity come with experience. Trust your instincts, remain open to learning, and allow your voice to evolve naturally. When your work is rooted in authenticity rather than imitation, it will resonate far more deeply with clients.
I believe the industry is moving towards a more thoughtful, human-centred approach. Clients are increasingly seeking spaces that support wellbeing, emotional balance, and a sense of identity, rather than purely aesthetic statements. I sense a growing desire for interiors that feel meaningful.
As far as sustainability is concerned, I hope that it will continue to evolve beyond materials and processes, extending into longevity and emotional durability: spaces that are loved and lived in for years, rather than frequently replaced.
Ultimately, I am convinced that the future of interior design feels quieter and more intentional.
Being an SBID Accredited Interior Designer represents both professional recognition and personal alignment with values I hold deeply. It acknowledges a responsibility to integrity and expertise, and a commitment to designing with care, depth, and purpose.
About Di Oro Interiors
Renowned for its multi-award-winning designs, Di Oro Interiors specialises in creating timeless interiors for residential and commercial clients. Founded in 2016, our interior design studio has built an invaluable reputation over the years for creating high-end luxurious interiors and for providing the highest level of design services. Our mission is to inspire joy and fulfilment, ensuring our clients feel a sense of excitement every time they walk into their space. With extensive experience and meticulous attention to detail, Di Oro Interiors is the ideal partner for discerning clients seeking expert guidance in bringing their visions to life.
Brooke Collins, Founder of Brooke Harmony Design, has given her insights into the industry.
I have always been passionate about interior design. I decided to study it at Southampton Solent University, where I built a strong foundation in both the creative and technical aspects of design. After graduating, I couldn't wait to get started in the industry. I spent my first three years at a design studio in Chelsea, working under some amazing designers and gaining invaluable experience across a range of residential and commercial projects. In 2020, I took a leap and became self-employed, which allowed me to work with multiple studios and build direct client and supplier relationships. Through my freelance work, I built the foundation for my own studio, Brooke Harmony Design, which became a full limited business in 2024. Now, with Brooke Harmony Design, I have the privilege of helping private and commercial clients across London and the New Forest enhance their surroundings through design.
Since I can remember, I have always enjoyed being creative and interacting with people, and interior design offered the perfect blend of the two! As I learned more about interior design and architecture, I also began to see how different environments can affect the people in them. I wanted my career to give me the chance to create amazing, unique spaces that would make people happy.
Without a doubt, it’s the people-focused nature of what we do. No two projects are ever the same, which keeps things interesting. Every client, brief, and space brings a new perspective, pushing us to think differently and refine our approach each time. Every day presents a new challenge and gives us a chance to be better designers. I love how the team and I are constantly evolving, not just with our skill set but also by incorporating new materials and suppliers, like those focusing on sustainability.
The past year has been a huge milestone for Brooke Harmony Design, marking our first year as a limited company, along with a complete re-brand. It’s been incredibly rewarding to see the studio grow, work on some amazing projects, and build strong relationships with wonderful clients along the way. We also became SBID accredited, which is a moment I’m especially proud of. It feels like a meaningful recognition of the quality, professionalism, and values we bring to our work.
I genuinely love the mix of projects we work on, as both residential and commercial design bring something different to the table. With residential projects, there is nothing better than seeing a family enjoying their new home and knowing that the space you created has improved their everyday life and wellbeing. On the other hand, commercial projects are often more fast-paced and dynamic. They bring a different energy into the studio that allows us to push the design boundaries a bit more, which is always fun.
Definitely the implementation of a design, especially if you are working within a larger project framework, coordinating between different suppliers, architects, contractors, and joiners etc. It is critical to make sure that everyone involved is moving in the same direction whilst also managing timelines, budgets, and expectations. Clear communication and organisation are essential. I think sometimes clients can be surprised by just how involved a design studio is throughout the project. We can start pre-planning permission and work with the client all the way through to placing the final cushion on site.
How important mindset is in this industry. Challenges are unavoidable, but staying calm and composed under stress leads to better decisions and stronger design solutions. No matter the problem, there is always a solution, so it’s important to keep a clear head. You must be able to have clear, concise communication and be open to feedback and learning from others.
Trust in yourself. No matter how good a designer you are, problems will always arise. Don’t dwell on the issues. Just remember that, however difficult a situation is, it will pass. Design is all about dealing with the highs and the lows. Be flexible and open-minded. Unexpected constraints often spark the most creative solutions, so approach problems as opportunities. Respect the expertise of others, and learn from them. Don’t fear criticism, use it to grow.
I think we are seeing a shift towards more thoughtful, people-led design. Clients tend to be more focused on wellbeing, sustainability, and adaptability. Flexibility is key; multifunctional rooms, adaptable layouts, and design that evolves with changing needs are becoming essential, in both homes and commercial settings. I’m a huge fan of saunas and steam rooms, so I’m hoping they are a big trend for next year, too!
It represents professionalism, credibility, and a commitment to best practice. It reassures clients that we know what we are doing and motivates us to continue growing and delivering high-quality design.
About Brooke Harmony Design
We are a passionate and dedicated interior architecture and design studio committed to creating incredible, meaningful spaces that truly work for our clients. Our approach blends creativity, technical expertise, and a deep understanding of how people live and interact with their environments. We listen closely to each client’s needs, translating their ideas into thoughtful design solutions that balance striking design with functionality, and comfort. From concept to final styling (and everything in between!) we focus on delivering interiors time and time again that feel personal, inspiring, and timeless.
Deirdre Hayes, Founder of Studio Hayes, has given her insights into the industry.
My route into interior design began with a fine art background, where my focus was painting and drawing. Beginning a degree in Interior Architecture was a significant shift, and adapting to technical drawing and structured design principles took time. However, it opened a new way of thinking about creativity within the built environment.
A defining moment came when I spent a summer as a student living and working in London. Coming from Ireland, the scale, pace and cultural diversity of the city was eye-opening, and exposure to other design disciplines broadened my understanding of design as a wider profession.
I spent much of my free time exploring London’s museums and galleries and was struck by how strongly buildings and interiors could influence how you feel, from the quiet, cathedral-like galleries of the V&A to the industrial drama of the Turbine Hall at Tate Modern. That experience confirmed that I wanted to design the spaces people move through and experience every day.
I enjoy the moment when a concept truly clicks, when brand, operational needs and user experience align in a clear design direction. I am particularly drawn to the strategic side: understanding how a space must perform commercially as well as emotionally, and translating that into layouts, details and atmosphere.
Collaboration is also a major highlight. There is nothing better than problem-solving live on site with a contractor or builder, navigating constraints and finding smart, buildable outcomes together. A strong collaborative team or lack of one can make or break a project, and when collaboration works well, it is one of the most motivating parts of the process.
The standout highlight this year has been launching my own practice while continuing to work at a senior level on hospitality and experiential projects. After many years leading an in-house design team and delivering projects for international brands, stepping into my own studio has been a major milestone.
A particular highlight has been the positive response from clients and peers to a more hands-on, director-led approach, with senior expertise embedded throughout each project. Reconnecting with past collaborators, building new relationships and shaping my own way of working has made this year feel like a real turning point. While starting a business is not always the easiest path, investing my time and energy into something of my own has proved to be the most rewarding aspect of my career.
I am especially drawn to hospitality and social spaces such as bars, restaurants, leisure venues and hotels. These projects are centred around connection; they are where people come together, celebrate, relax and create memories. I enjoy the complexity that sits behind the atmosphere, from circulation and operational efficiency to layouts that support a strong commercial return, paired with the challenge of making the final experience feel effortless, welcoming and atmospheric.
I also enjoy working with heritage and older buildings. Their construction, detailing and layers of history bring a depth of character, and part of the design challenge is respecting that while adapting the space for contemporary use. Through recent residential work, including renovating my own Victorian terraced house in North London, I have developed a deeper appreciation for how these buildings are put together, with each layer revealing a different story. Balancing old and new adds a richness that cannot be replicated.
Balancing ambition with reality is always a challenge. Budgets, programmes and existing buildings do not always cooperate with the initial vision, so you need to be resourceful and solutions focused. Managing expectations and communication across large teams, including clients, operators, contractors and stakeholders, can be demanding, especially when things change late in the process. However, those challenges are also what make the successful moments so satisfying.
I wish I had fully appreciated how much time is spent on coordination, communication and detail rather than purely on design. A strong concept can fall flat if the technical information, drawings and site coordination are not robust. I would also tell my younger self that understanding how projects are financed, procured, built and operated is just as valuable as a good eye; commercial awareness and curiosity about the wider process make you a far stronger designer.
I have also learned the importance of understanding different perspectives. Clients, designers and contractors often approach a project from different standpoints, and acknowledging those differences early on makes collaboration more productive and outcomes more successful.
Spend as much time as possible in real spaces, rather than relying solely on mood boards and digital references. Visit sites and new venue openings, observe how people use them, speak to staff, and take note of bottlenecks, quiet corners and missed opportunities. Form your own design opinions and let those observations guide your thinking.
Seek out a mentor for support, whether within the industry or someone with strong leadership experience. Build strong relationships with your peers, and do not be afraid to ask for what you want or to articulate the direction you want to grow in. Enjoy the wins and learn from the setbacks.
I expect a continued move toward spaces that support fluid, real-world use: places that can transition naturally from day to night, from work to socialising, and from private focus to shared experience. Clients are looking for environments that feel authentic and uplifting, not formulaic. Sustainability will also move further into the mainstream, with increased focus on longevity, reuse and responsible specification.
In hospitality, people are craving connection and shared experience in a world that feels slightly unsettled. This is evident in the rise of concepts rooted in familiar traditions and nostalgic social rituals, from competitive socialising to modern reinterpretations of the corner shop, pub or clubhouse. There is a renewed appreciation for places with heritage, soul and a sense of belonging, which may prompt a return to more timeless design, craft and spatial storytelling, even within larger brands.
AI will become more integrated into the design process, supporting research, visualisation and efficiency. Its value lies in enhancing human creativity and informed decision-making, rather than replacing the designer.
Being an SBID Accredited Interior Designer represents professional credibility, accountability and a commitment to best practice. Accreditation by the Society of British & International Interior Design provides reassurance to clients and collaborators that my experience, training and approach meet recognised industry standards.
It reflects the importance I place on integrity, ethics and continued professional development. Interior design balances creativity with technical knowledge and responsibility, and accreditation reinforces the need to uphold all three consistently.
On a personal level, SBID accreditation acknowledges the breadth of my career to date, from leading in-house design teams to establishing my own practice. It also connects me to a wider professional community and supports my commitment to delivering thoughtful, well-considered design that responds to people, place and context.
Natalia Ratajczak, Founder & Creative Director of WHY NOT Design, has given her insights into the industry.
After graduating from KLC School of Design, I dived into the London design scene working on high-end residential and commercial spaces — the kind where everything looks effortless, but only after hundreds of caffeine-fuelled hours behind the scenes. Eventually, I realised I wanted to create something less “polite” and more alive. So, I launched WHY NOT Design — a studio built on the belief that safe is boring and bold means yours. We design marketing suites, show flats and workplaces that don’t just look good — they perform.
Because I’ve never been able to walk into a room without mentally redesigning it. Design has always been my language — a mix of problem-solving, storytelling, and a bit of rebellion. I wanted a career where I could blend creativity with impact; not just pick cushions, but build experiences that make people feel something. Interior design lets me turn ideas into atmosphere — and that’s addictive.
The magic moment when a concept sketch becomes a space people actually inhabit. I love the process — the mess, the material samples, the midnight ideas that suddenly make everything click. Every project is a balancing act between imagination and reality, and I secretly enjoy the chaos. Also, that client smile when they walk in and say, “This feels like us.” Can’t beat that.
Without a doubt — launching WHY NOT Design. Watching the brand grow from a scribble in my notebook to a real studio with real clients has been wild. Getting SBID Accredited in our first year was the cherry on top — a reminder that being bold doesn’t mean being reckless. You can colour outside the lines and still do it properly.
Marketing suites, show flats and workplaces — anything that blends creativity with commercial purpose. I love designing spaces that sell a story. They have to grab attention, make an impression, and whisper, “You belong here.” Those projects let me push creativity while still driving results, which is basically the WHY NOT sweet spot.
Keeping the vision intact while reality throws curveballs — budgets, deadlines, deliveries, the occasional “we lost your tiles.” Design is 20% creative genius and 80% controlled chaos. The challenge (and the fun) is staying calm while the storm swirls — and still producing something beautiful. It’s equal parts artist, therapist, and crisis manager.
That interior design is a full-contact sport. You’ll need stamina, patience, and a sense of humour. It’s not just fabrics and floorplans — it’s negotiations, logistics, psychology, and a lot of problem-solving. I wish someone had told me that resilience is as valuable as creativity. Oh, and comfortable shoes. Always comfortable shoes.
Don’t water yourself down. The world doesn’t need another copy of what’s already been done. Find your thing — your signature — and lean into it. Not everyone will get it, and that’s fine. The right clients will. Consistency and confidence build a brand faster than any trend ever could.
We’re entering the era of meaningful design. Clients are craving authenticity — spaces with purpose, not perfection. Sustainability is finally more than a buzzword, and storytelling is front and centre. Technology will keep shaping how we visualise and communicate ideas, but personality will be the real differentiator. The future belongs to designers who dare to be different — and mean it.
It’s proof that being bold and being professional aren’t opposites. SBID accreditation gives credibility to creativity — it says, “Yes, we’ve got the vision and the structure.” For me, it’s both recognition and motivation. It keeps me grounded while I keep pushing boundaries. In short — it means we can rebel responsibly.
About WHY NOT Design
WHY NOT Design is a London-based interior design studio creating bold, story-driven spaces that stand out and sell. We specialise in marketing suites, show flats, workplaces, and residential interiors across London and Essex, delivering designs that connect emotionally and commercially. With over nine years of industry experience, we combine creativity with strategic thinking to craft interiors that are original, functional, and memorable. From concept and space planning to 3D visuals, technical packs, and installation, we handle every stage of the process — because we believe safe is boring, and bold means yours. Rebellious by design, unapologetically original.
The SBID UK Interior Design Icons were selected to recognise leading design practices throughout the UK who have consistently displayed exceptional standards within our esteemed industry network.
This week’s instalment of the SBID Icon Insights series features LXA Projects. They offer clients a bold and dynamic approach to interior design, spanning the Hospitality, Education, and Commercial sectors.
Design trends are always shifting, and we make sure to stick to our client brief and objectives. Rather than sticking to a single "house style," we tailor each project to our client’s brand and audience. A great example is our work on V and BYRD. For both, we created striking, contemporary spaces that captured market trends while staying true to the brands’ core values. The goal is always to deliver something unique yet commercially relevant.
We’re always out there — whether it’s networking at industry events, engaging on social platforms, or entering award submissions. Networking is key for us—it helps us stay connected and informed about what’s happening in the design world, so we’re always in tune with the latest trends and opportunities. We also host regular CPD sessions in-house to keep our team sharp, updated, and inspired.
Sustainability isn’t just a buzzword for us – it’s a responsibility!
We prioritise locally sourced materials, ensure our designs are built for longevity and make conscious choices that reduce waste. It’s about creating spaces that stand the test of time, both aesthetically and environmentally.
Technology is reshaping the industry, and we embrace it – AI tools, CAD modelling, and enhanced visualisation software all help to refine our process. But all our designs start with pen and paper or pen and an iPad. There is something irreplaceable about hand-sketching ideas before digitalising them, and we believe in the power of a hand-sketched 3D visual to present early ideas. Full rendered visuals sometimes hinder the design process rather than supporting it and they’ll never fully replace the hands-on creativity that’s at the core of our work.
Forget about your style—it’s not about you. Something I learned early in my career is that design isn’t about your personal preferences—it’s about the client. They’ll likely change their mind several times during the process, and that can be frustrating.
But you must remember that their satisfaction is the priority. Stay adaptable, patient, and always focus on meeting their needs, even when things shift. The best designers are adaptable, patient, and responsive to their clients' needs.
Our reputation. Building a name in this industry isn’t easy, but we’ve carved out a space where creativity meets practicality. We've established a strong name for ourselves, and the ability to work across a wide range of services that cater to varied client needs, sets us apart. Being able to adapt and deliver on diverse projects has been key to our success and is something we are incredibly proud of.
Yes! One of our associate designers, Sammy Bikoulis, is particularly passionate about mentorship. He’s involved in a phone mentoring program where he connects with up-and-coming designers a few times a year, offering advice and sharing what he’s learned along the way. He has also guided students in design competitions, helping them fine-tune their concepts and offering guidance to make sure their designs stand out. On top of that he frequently speaks at events like the London Design Fair. He’s even led online CPD sessions on topics like "Designing Inclusive Spaces." Sharing knowledge is something we value deeply.
About LXA Projects LTD
We offer clients a bold and dynamic approach to interior design, spanning the Hospitality, Education, and Commercial sectors. Our expertise isn’t just about aesthetics — we bring together interior design, project management, and cost consultancy to deliver a seamless, end-to-end service.
This week’s instalment of the SBID Icon Insights series features Fusion by Design. Through our passion for design and eye for detail, Fusion by Design know the true beauty of any project is in its commercial success.
The design and creative direction of the business is overseen by myself (Paula Jepmond) by working collaboratively with the team. It is important that all creatives continually shine, and we understand each other’s qualities, strengths and weaknesses, focusing on the positives makes for a cohesive project scheme.
I am unsure if we have a ‘Design Style’ as many of our projects are completely different whether that be a high street bar or a traditional pub. A comprehensive brief is the key to a great project, unfortunately a quality brief is very rare, so it is important to ask the right questions from the outset. Leaving a briefing meeting unclear of what the client wants is no good for anybody. Asking the right questions usually throws even more questions than achieves answers but this can save a lot of unnecessary wasted design time. If you still don’t get the answers you need, asking for a reference house is always a good start.
It is important we stay informed of what is happening in the design world. I still love a good design book, and Pinterest is great if used correctly. Our sample library is our pride and joy, and we are grateful to the many reps who travel to see us from all over the UK, quite often we will be given a sneak peak of new collections before they are launched. We tend to alternate the trade design shows, going to them bi-annually but the World Wide Web has been fantastic in opening to suppliers and design further afield. I am very excited about how AI will work in our industry. We have already started introducing AI into our schemes, this opens a whole new world of opportunity.
For many of our clients, sustainability is at the forefront of their company ethos and more recently their ESG policy, therefore this is reflected in our schemes. Sustainability has been discussed in our briefings for the last 20+ years, the student unions were the first to really push this. I’m saddened to think of all the wonderful quality furniture and light fittings that have been skipped and more often replaced by lesser quality items simply because the design was no longer relevant. More and more we are re-using, re-furbishing, re-upholstering, re-lamping, refinishing in order to reduce waste. You can see a shift in design styles too, there is so much more stained and polished timberwork in our schemes now replacing low quality painted MDF with stained and polished sustainable woods that will stand the test of time far longer than cheaper materials.
It is important for a company to be proud of all their projects both large and small. New concepts are really exciting for a design company, seeing new finishes and details come together is very rewarding. Seeing that concept then roll out as a brand is also a great achievement. What is important is to ensure you have delivered the clients brief, more often than not the client doesn’t brief that they want to win an award, they want something that has longevity, sustainability and is operationally functional if they get an award too that is an added bonus for everybody involved.
I believe one of our proudest moments was when we started working for Pizza Express when our company was in its infancy. Again, this work came through a client moving companies and taking us with them. For us, a small, unknown business in Leeds to be working for such a well established, iconic brand was very rewarding and I was very proud of that. Around the same time we undertook the refurbishment of the main hotel bar in the historic Landmark Hotel in London another pinch me moment.
About Fusion by Design
Established in December 1998 we are very proud to still be working with the same heartfelt enthusiasm and creativity into our 27th year of Business. From Conception to Completion, we work across all aspects of Commercial & Hospitality Design. Through our passion for design and eye for detail we know the true beauty of any project is in its commercial success.
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