Walk into enough luxury homes today, and a strange pattern begins to emerge. The same materials. The same furniture. The same carefully curated idea of what luxury is supposed to look like. Marble surfaces. Fluted wall panels. Neutral palettes. Statement lighting. Beautifully styled spaces that photograph well and reflect the visual language of the moment.
Yet the homes I remember most are rarely the ones that followed the formula. They are the homes that felt personal. The homes that responded to the people living within them. The homes that revealed something unexpected.
As an interior designer, Pavlina Campbell, Founder of Pinterior.space, has become increasingly interested in a different definition of luxury. One that is less concerned with trends and more concerned with creativity. One that values individuality over imitation. One that understands that the most meaningful interiors are not copied from inspiration boards, but shaped around the people who inhabit them.
Creativity is rarely about adding more. More often, it comes from asking better questions, exploring alternatives and finding solutions that respond intelligently to the people, place and constraints of a project. Much of this work happens long before a finished interior becomes visible. Perhaps creative thinking has become the ultimate luxury.
Luxury interiors have never been more visible. A few minutes on social media can provide an endless stream of inspiration: beautiful kitchens, elegant living rooms and carefully curated spaces designed to capture attention. There is nothing inherently wrong with this. Inspiration has always been an important part of the creative process.
The challenge begins when inspiration becomes imitation. Over time, certain materials, colours and design features become associated with luxury. Repeated often enough, they begin to feel less like considered choices and more like requirements.
The result is a familiar pattern. Different properties. Different clients. Different lifestyles. Yet often the same design language. The same solutions. The same visual cues. Luxury becomes less about responding to the individual and more about recreating a recognisable aesthetic.
The irony is that many of these interiors are technically very well executed. They may be beautiful. They may be expensive. They may be admired. Yet they can still leave little room for surprise, individuality or genuine creative exploration. When luxury becomes predictable, something important is lost. The opportunity to create something that could belong to no one else.
Perhaps one of the greatest misconceptions about creative design is that originality happens naturally. In reality, creating something truly individual is often far more demanding than following a familiar formula.
When a design follows an established aesthetic, many of the decisions have already been made. The materials are familiar. The colour palette is familiar. The furniture language is familiar. Even the outcome can become largely predictable.
Creating something original is different. It requires a deeper understanding of the people, the property and the opportunities hidden within the brief. It requires curiosity. It requires experience. And perhaps most importantly, it requires the confidence to explore possibilities that do not yet exist.
Clients often arrive with collections of inspiration images gathered over months or even years. The challenge is rarely a lack of ideas. It is understanding what connects them — what the client is responding to, and why. I once worked with a client who shared more than thirty inspiration images. She had explored numerous layout options and spoken with other professionals, yet none of the proposals felt quite right. The problem was not a lack of information. It was a lack of interpretation.
The role of a designer is not simply to recreate individual images or present endless variations of the same idea. It is to understand what the client is really trying to achieve and transform those aspirations into a coherent design response. Sometimes the most successful solution is not the one the client expected. It is the one they immediately recognise as right. Creating something original requires curiosity, experience and the confidence to ask different questions.
Some of the most rewarding moments in design happen when a client sees a solution they would never have considered themselves. Not because it is unusual for the sake of being different. Not because it follows the latest trend. But because it solves a problem in a way that feels both unexpected and completely natural. These moments rarely happen by accident. They are often the result of experience, curiosity and a willingness to look beyond the obvious solution.
A creative designer is not simply selecting colours, furniture or materials. They are exploring possibilities. They are questioning assumptions. Testing ideas. Looking for opportunities hidden within the architecture, the brief and the way people live.
Sometimes the most successful design decisions are the ones that initially seem the least obvious: A layout that completely rethinks how a space functions. An unexpected relationship between materials. An architectural intervention that transforms the experience of a space rather than simply decorating it.
The best ideas often emerge when a designer moves beyond what is expected and begins asking different questions. Good design should not simply confirm what we already know. It should reveal possibilities we had not yet considered. That is where innovation begins. And perhaps that is why truly original homes are so memorable.
For many years, luxury has been associated with exclusivity. Rare materials. Bespoke craftsmanship. Exceptional attention to detail. These qualities remain important. But in a world where inspiration is available instantly, and trends can spread globally within days, exclusivity has become more difficult to define. The same furniture can appear in thousands of homes. The same materials can be specified across countless projects. The same carefully curated aesthetic can be recreated again and again. What becomes rare is not access to beautiful things. What becomes rare is individuality.
A truly luxurious home is not memorable simply because it follows an aesthetic particularly well. It is memorable because it reflects the people who live there.Their routines. Their values. Their aspirations. Their story.
This is why the most successful projects rarely begin with furniture, finishes or colour palettes. They begin with understanding. Understanding how people want to live. Understanding what matters to them. Understanding the architecture they inhabit. Understanding what makes this particular project different from every other one.
The result can be something that imitation alone could never produce. A home that feels personal rather than predictable. A home that feels considered rather than copied. A home that could not belong to anyone else. Perhaps the ultimate luxury is not having what everyone else has. Perhaps it is having something that could not belong to anyone else.
In many ways, creativity is the invisible layer of design. It cannot necessarily be measured by the cost of materials, the size of a property or the number of bespoke features within a home. Instead, it reveals itself through the quality of thinking behind the decisions. The ability to see possibilities where others see limitations. The confidence to challenge familiar solutions. The curiosity to explore ideas that may not be immediately obvious. This is often the difference between an interior that looks impressive and one that feels deeply personal.
As technology continues to make visual inspiration more accessible and ideas circulate faster than ever before, the value of creative thinking may become even more important. Not because creativity rejects inspiration. But because it interprets it. It transforms inspiration into something meaningful. Something individual. Something that could not simply be replicated elsewhere.
If luxury once meant access to rare materials and exclusive products, perhaps today it means something different. Perhaps luxury is having a home shaped by ideas, imagination and thoughtful design — rather than a formula.
About Pinterior Space
We are Interior design practice specialising in residential interiors. We are based in South Cambridgeshire where we work closely with our clients in a collaborative process to produce creatively unique, practical and beautiful spaces.
If you’d like to feature your news or stories on SBID.org, get in touch to find out more.
If you’d like to become SBID Accredited, click here for more information.
Workplace culture design starts long before a values statement appears on a wall. It starts with how people move through a space, where they pause, who they see and how often informal contact happens. Think back to the first friends you made. School, most likely. University. Those early jobs. Places you did not choose so much as land in.
What those places had in common was not that everyone was especially warm or socially gifted. They were structured around repeated, low-stakes contact. The same building, the same people, again and again, with reasons to interact. Names had to be exchanged. You had to make something, build something, solve something, then do it again the next day. Many close friendships form that way. The ones that follow you out of the building often start with simple proximity.
The workplace still plays a powerful role in how people connect. Research reported by HR Grapevine found that 21% of Brits met their closest friends at work. Gallup has also linked having a best friend at work with stronger engagement, performance, innovation and retention.
Most organisations understand this in theory. They read the research, nod at the findings and then move back to the usual language of collaboration, utilisation and productivity.
However, culture is not only shaped by policies or leadership messages. It is shaped by the daily conditions that make trust easier to build. Familiarity creates comfort. Comfort creates trust. Over time, trust can become friendship.
We often assume friendship is organic. Hire decent people and the rest will sort itself out. That assumption ignores the conditions that made connection possible in the first place.
Remote and hybrid working have made this more complicated. Many people now communicate through Teams, Slack or email for most of the week. These tools are useful, but they can also become noise rather than connection.
Some people view work as transactional. Others prefer to keep their personal lives separate. There is nothing wrong with that. However, it means that when people do come into the office, the environment needs to work harder.
This is where workplace strategy becomes important. A good brief should not only ask how many desks are needed. It should also ask how people meet, move, pause, share knowledge and build trust.
The office used to create connection almost by accident. Shared kitchens, corridors, staircases, print points and reception areas brought people together without anyone needing to schedule it.
Then many offices became more efficient. Departments were separated. People were given their own zones, their own meeting rooms and their own facilities. In the process, some workplaces removed the very conditions that made informal connection possible.
A floor plan can either help people find each other or make that harder. It can encourage movement across teams, or it can let people arrive, sit, work and leave without speaking to anyone outside their immediate group.
That is why workplace culture design should be considered at the earliest stage of planning. Culture is not simply something that happens inside a space. It is influenced by the space itself.
Designing for connection does not mean forcing people into constant interaction. It means creating moments where contact can happen naturally.
- Shared amenities should pull people together rather than keep them in separate corners of the office. - Central social spaces should feel different from formal work areas, so people feel able to pause and relax. - Circulation routes should connect teams rather than route people around them. - Linger spaces should give people a reason to stay for a few minutes without needing a meeting. - Clear sightlines can keep people visible to each other without making the office feel exposed or crowded.
These are small decisions, but they shape behaviour. Over time, they influence whether an office feels connected, fragmented, welcoming or difficult to use.
When Eight Financial Advice came to Spectrum for its new headquarters, the brief centred on client experience and a professional working environment. Those things mattered, and they needed to be delivered well.
As the design developed, another layer became clear. The layout needed to do more than impress visitors. It also needed to support the people using the space every day.
Alongside advisory offices and client-facing areas, the completed Eight Financial Advice headquarters includes breakout areas, collaborative zones and informal meeting spaces. These are not just visual features. They create opportunities for interaction that are not attached to a formal agenda.
That is where culture often lives. Not only in the boardroom or the team meeting, but in the quieter moments that help people become familiar with each other over weeks and months.
If you are reviewing your workplace, planning an office relocation or trying to understand why a recent change did not land, ask one simple question:
Is this office designed to help people find each other?
Not in a forced or organised way. Nobody wants friendship scheduled into their calendar. The question is subtler than that.
- Are there spaces people naturally drift towards? - Do routes mix teams or keep them apart? - Are shared areas easy to reach, visible and comfortable? - Does the space support both planned collaboration and informal contact? - Are people being helped to understand and use the space properly?
That final point matters. Workplace onboarding and integration can help teams understand how a new environment is intended to work, so the design does not rely on guesswork after handover.
About Spectrum Workplace
Spectrum acts as a strategic partner, guiding your organisation through the full workplace journey from initial brief to successful occupation. We work closely with leadership and staff to define how your workplace should support your business, building a clear, aligned brief from the outset. Our integrated approach combines strategy, design and delivery, supported by ongoing cost validation, governance and technical coordination to reduce risk and maintain control. Throughout the process, we engage your team and manage all aspects of delivery, ensuring the workplace is not only delivered efficiently, but fully adopted and performing from day one.
Aisha Subhani, Founder of Aisha Subhani Design, have given her insights on design.
A home carries the hands that made it.
You see it in the line of a moulding, the weight of a cabinet door, the surface of a vessel, the way a piece of joinery seems to understand the room it sits in. These details may not ask for attention straight away, but they are often the reason a home feels warm, layered and deeply personal.
Craft has always shaped the way I think about interiors.
It is there in the way a room is planned, in the materials chosen, in the makers brought into the process, and in the details that stay with a home long after the installation is complete. How something is made matters. So do the people making it.
My relationship with craft began before I was designing homes for clients.
I have always been drawn to people who make things with their hands. The patience of it. The judgement involved. The knowledge that sits in a person’s fingers after years of working with the same material.
That understanding changed the way I look at interiors.
A room is never built from finishes alone. It comes together through proportion, use, material, detail and touch. The parts of a home people live with every day often carry the greatest importance. The cupboard opened each morning. The handle held without thinking. The shelf made for a particular collection of books. The object on a console that carries a story from another place.
Those are the details that make a home feel personal.
They also ask for time. A piece made for one room has to understand that room. Its light, its scale, its architecture and the people moving through it.
In my interiors, craftsmanship appears in practical and beautiful ways.
It might begin with bespoke joinery. A dressing room designed around the rhythm of someone’s morning. A kitchen cabinet made to hold the everyday things a family reaches for most. A library wall planned around existing architecture, rather than forced into it.
The same thinking applies to mouldings.
A profile can change the feeling of a room completely. It can bring softness to a clean space, restore character to a period property, or help a room feel more settled. The right moulding feels as though it has always belonged there.
Handcrafted details bring another layer again.
A carved stone basin. A brass fitting with a surface that will change over time. A ceramic piece shaped by hand. A textile woven slowly, with small variations that give it life. These pieces bring the maker into the room. They hold the memory of the person who worked on them.
That is where the richness lies.
I am thinking about this a lot in a current apartment project on Mount Street in Mayfair.
The building has history, but the home needs to work beautifully for the way people live now. That balance has made craft central to the design process.
We are designing bespoke joinery throughout, developing mouldings that respond to the proportions of the rooms, and introducing handcrafted details that give the apartment warmth and character. Craftspeople are part of the project at different stages, from the makers shaping the architectural details to the artisans creating pieces that will sit within the finished rooms.
There is a contemporary interpretation of Arts and Crafts thinking within this project. Materials, making, detail and use all sit at the centre of the work. The result belongs to modern living, but has the patience and skill of something made properly.
Craft is present in the larger decisions, but also in the smaller ones. The depth of a profile. The scale of a cupboard. The material chosen for a surface that will be touched every day. The way one handmade piece can shift the feeling of an entire corner.
A great deal of my work happens through conversation with makers.
I work with artisans across South Asia, Europe and the Middle East, and each workshop brings its own materials, methods and traditions. A maker who has spent years with timber, brass, clay, stone or textile understands that material in a way that comes from practice.
That knowledge changes the final piece.
A drawing can set the intention, but the maker brings judgement. They know where a line should be softened, where a material will resist, where a finish will age well, and where a small adjustment will make the piece feel more natural in the room.
That exchange is one of the most valuable parts of the process.
It allows a home to carry more than one point of view. The client, the designer and the maker each shape what the room becomes.
Ash Revive came from this long-standing relationship with craft.
For years, I sourced handcrafted pieces for private clients. Again and again, these objects became the pieces people loved most in their homes. A bowl on a console. A carved object on a shelf. A piece of brasswork catching the light.
The maker’s name, process and story were always part of the value of the piece. I wanted those stories to have more space.
Ash Revive allows the artisans I work with to sit beside their work. Each piece is chosen with care, and each collection keeps the story of the maker close to the object itself.
It grew naturally from the studio, because the belief is the same. Craft deserves to be understood, credited and lived with.
The homes I love most are full of details that feel as though they belong exactly where they are. The joinery follows the room’s own rhythm. The materials have been chosen with patience. The objects carry a hand you can sense, even when you could never name whose it was.
A handcrafted home is shaped by more people than the designer’s name suggests. The maker, the artisan, the client who trusted the process when it took longer than expected. Each brings something the others could never have created alone.
That accumulation, more than any single beautiful object, is what gives a home its depth.
About Aisha Subhani Design
Founded by Aisha Subhani, Aisha Subhani Design is a London-based interior design studio creating luxury interiors across the UK and internationally. Drawing on global craftsmanship, collectible design and a contemporary sensibility, the studio creates homes that feel deeply personal to the people who live in them. Services include concept development, art curation, bespoke furniture and sourcing from collectible makers, alongside Private Design Consultations with Aisha for those seeking considered guidance without a full design package. The studio works with a select number of clients each year, allowing each project the time, care and attention it deserves.
Robert Glynn, Founder & Creative Director at Studio 31 Interior Design, has given his insights into the industry.
I'm the Founder and Creative Director of Studio 31 Interior Design. Before starting Studio 31, I spent seven years as a Director at Habu Interior Design, working on residential and commercial projects across Ireland.
Leaving Habu was one of the hardest decisions I've ever made. Starting your own business is daunting at the best of times, but I somehow decided it was also the right time to build my own home, launch a new company and raise a young family. Looking back, I honestly don't know how we got through it. It was incredibly stressful, but it also gave me complete clarity about the type of design practice I wanted to build.
Blackbarn became a turning point. Designing and building my own home reinforced everything I believe about good design and continues to influence every Studio 31 project today.
Studio 31 Interior Design is pleased to be among the inspiring global design talent to have been shortlisted as a finalist in this year’s SBID International Design Awards for its entry, Blackbarn in the Residential House Under £1M category.
I don't think there was one particular moment where I decided to become an interior designer. Looking back, I've probably always looked at buildings differently. Even now I'll walk into a restaurant or hotel and immediately start looking at the lighting, proportions and layout rather than the menu.
What drew me into the profession was the mix of creativity and problem solving. You're not creating art to sit on a wall; you're creating spaces people live in every day. If you've done your job well, life becomes a little easier, calmer and more enjoyable.
The beginning of a project is still my favourite part. Before we talk about colours or furniture, I want to understand how people actually live. Where do they drink their morning coffee? Who cooks? What frustrates them about their current home? Those conversations tell me far more than a Pinterest board ever will.
I genuinely believe the best interiors aren't designed around furniture—they're designed around people.
Without question, completing Blackbarn. It was the most rewarding and demanding project I've ever worked on. When you're designing for yourself there's nowhere to hide. Every decision is yours, and if you get something wrong, you're the one living with it.
Launching Studio 31 at the same time definitely wasn't the sensible option, but together those experiences have shaped the designer and business owner I am today.
Residential projects will always be my favourite because they're so personal. A house isn't just another project; it's where people build their lives.
The projects I enjoy most are those where we're involved early enough to influence both the architecture and the interiors. When everything is considered together from day one, the end result feels calmer, more cohesive and more natural.
Helping people understand the value of the decisions they can't necessarily see. Most people get excited about kitchens, sofas and finishes, but layout, proportion, circulation and natural light usually have a much bigger impact on how a home feels.
I probably have a slightly controversial opinion as an interior designer, but I think liveability just edges aesthetics. I want every project to look beautiful, but if it doesn't function brilliantly every day, then it hasn't quite succeeded. The best homes don't shout—they just quietly work.
Probably that only a small part of the job is actually designing. The rest is listening, communicating, solving problems and coordinating a talented team of people. Some of the best ideas don't happen behind a computer, they happen on site.
Stay curious. Don't just look at beautiful photographs online. Ask yourself why a space really works. Visit buildings, travel, spend time on construction sites and ask lots of questions.
And don't design for Instagram. Design for Sunday mornings, family dinners and rainy evenings. Those are the moments people actually remember.
I think we're moving away from designing homes around trends and back towards designing them around people. Clients are asking better questions about longevity, craftsmanship and how their homes will work in ten or twenty years' time. Personally, I think that's a really positive direction for the industry.
Starting Studio 31 was a huge leap of faith, so achieving SBID Accreditation feels like another important milestone. It's fantastic to receive recognition from such a respected organisation, but more importantly it gives clients confidence that they're working with a practice committed to high professional standards.
Awards and accreditation are wonderful, but the real reward is handing over a home and knowing it will genuinely improve how someone lives for years to come.
About Studio 31 Interior Design
Studio 31 Interior Design is a Dublin-based interior design studio specialising in bespoke residential and commercial interiors throughout Ireland. We create timeless, functional spaces tailored to each client's lifestyle, business and aspirations. Our comprehensive service includes interior architecture, space planning, lighting design, bespoke joinery, material specification, furniture sourcing and complete project management from concept through to completion. Every project is approached with creativity, meticulous attention to detail and a commitment to exceptional quality. Our work has been featured in leading Irish publications, reflecting our passion for creating beautifully considered interiors that stand the test of time.
Feray Takmak, Founder & Creative Director of Studio Feray, has given her insights into the industry.
Interior design was never simply a career choice for me it was a calling. Although I originally studied Geophysics Engineering, I realised very early on that my true passion lay in creating spaces that positively influence how people live. I was fascinated by the emotional connection between people and their surroundings, and I wanted to combine creativity with problem-solving.
What I enjoy most is the transformation journey. Watching a project evolve from an initial conversation and a blank floor plan into a beautifully crafted home is incredibly rewarding.
I also love sourcing unique pieces from around the world. Every project becomes an opportunity to discover exceptional artisans, materials, antiques, and contemporary craftsmanship that bring individuality to each interior.
The greatest satisfaction comes when clients walk into their completed home and say, "This feels exactly like us."
This past year has been particularly meaningful for Studio Feray. One of the highlights was seeing our work featured on the cover of Maison France Magazine, celebrating our approach to timeless luxury interiors.
Luxury residential projects will always be my favourite because they allow for deeply personal design.
I enjoy working with clients who value quality, craftsmanship, and longevity. Designing a home is about much more than selecting beautiful furniture; it's about understanding how a family lives, entertains, relaxes, and creates memories.
The most successful interiors tell a story, and I enjoy discovering that story through the design process.
Managing expectations while balancing creativity, budgets, timelines, and technical requirements can be challenging.
Design is only one part of the profession. Successful interior designers also need strong project management, communication, negotiation, and leadership skills. Coordinating architects, contractors, specialist suppliers, and craftsmen requires constant attention to detail.
The challenge is significant, but it is also what makes the profession so rewarding.
I wish I had understood earlier that trust should always be supported by clear processes and written agreements.
Over the years, I've learned that while the interior design industry is built on collaboration, not everyone involved in a project will share the same level of professionalism or integrity. Whether it's contractors, suppliers, or third parties, it's important to protect both your clients and your business by documenting everything, setting clear expectations, and never relying solely on verbal agreements.
Never stop learning.
Visit showrooms, travel whenever possible, study architecture, understand construction, and most importantly, develop your own design voice rather than following trends.
Technology and AI have become valuable tools, but they can never replace curiosity, experience, observation, or genuine creativity. The best designers remain students throughout their careers.
I believe the industry will continue moving towards highly personalised, sustainable, and thoughtfully curated interiors.
Artificial intelligence will continue to transform the design process by improving visualisation, concept development, and workflow efficiency. However, the human element understanding clients' lifestyles, emotions, and aspirations will always remain at the heart of exceptional interior design.
For me, SBID accreditation represents professionalism, credibility, and a commitment to maintaining the highest standards within our industry.
It also reassures clients that they are working with a qualified professional who values quality, integrity, and responsible design practice.
About Studio Feray
Based in the heart of London's prestigious Walton Street, home to the capital's most renowned design houses, luxury boutiques, and artisan showrooms, Studio Feray has over 20 years of experience creating exceptional high-end residential interiors. Inspired by the craftsmanship and design heritage of one of London's most influential design destinations, the studio delivers bespoke interiors that combine timeless elegance, refined materials, and meticulous attention to detail. From concept and procurement to project coordination and final styling, Studio Feray creates sophisticated, personalised homes that balance understated luxury, functionality, and enduring quality for clients in London and internationally.
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.
Nini Andrade Silva, Founder & Creative Director at Atelier Nini Andrade Silva, has given her insights into the industry.
Nini Andrade Silva is a Portuguese interior designer and Founder & Creative Director of Atelier Nini Andrade Silva, an interior architecture and design studio working across luxury hospitality, private residences, cultural spaces, bespoke furniture and collectable design.
Born in Funchal, Madeira Island, Nini graduated in Design from IADE in Lisbon and developed her international perspective through academic and professional experiences in New York, London, Paris, South Africa and Denmark. Over the course of her career, she has collaborated with leading international hospitality groups and brands including Marriott, Hilton, Belmond, Accor, Highgate, IHG, Barceló and Meliá, creating interiors where operational excellence, cultural identity and emotional experience come together.
Her work has been featured in international publications including The New York Times, Financial Times, Architectural Digest, Wallpaper and Condé Nast Traveller. She has received institutional recognition from Portugal and Colombia, and continues to contribute to the global design conversation through conferences, exhibitions, judging panels and thought-leadership initiatives.
I wanted to work in interior design because I have always felt that space has the power to transform people. I grew up in Madeira, where the horizon was the Atlantic, an endless line that taught me, from a very early age, that there is always something beyond what is immediately visible. That relationship with landscape, memory and emotion became the foundation of my way of designing.
One of my strongest childhood memories is of the garotos do calhau, the boys who spent their days on the beach rocks and dived into the sea to catch coins thrown from cruise ships. There was courage, instinct and beauty in that gesture: the body, the rock and the ocean in direct dialogue. That image stayed with me and perhaps explains my attraction to organic forms, to spaces that feel shaped by nature, never perfect, but always true.
What I enjoy most is transforming an initial idea into a complete experience. In interior architecture, a project begins with listening: to the client, to the site, to the brand, to the culture and to the people who will inhabit the space. From that point, we build a concept that can guide every decision, from spatial planning and materials to bespoke furniture, lighting, FF&E and final styling.
I also love the tension between creativity and precision. A beautiful interior is never only about aesthetics; it must function, endure and respond to real needs. This is especially important in luxury hospitality design, where a hotel, resort, restaurant or spa must create emotion while also meeting operational standards, maintenance requirements, guest comfort and brand expectations.
One of the most meaningful highlights was joining the AHEAD Europe 2025 judging panel. Hospitality design has always been a central part of my work, so being invited to evaluate projects within such an important international platform was both an honour and a responsibility. It was a beautiful opportunity to reflect on the future of hotels, guest experience, interior architecture and the emotional dimension of hospitality.
Another very special moment was the creative direction of Made in Portugal naturally at Paris Design Week 2025. Representing Portuguese design, craftsmanship and industry on an international stage is something very close to my heart. Portugal has a profound creative identity, and I believe our materials, makers and designers have a voice that deserves to be seen globally.
I am especially drawn to hospitality projects because they are complete worlds. A hotel is not just a sequence of beautiful interiors; it is a living experience made of arrival, service, intimacy, comfort, discovery, memory and emotion. Designing for hospitality means thinking about the guest journey from the first impression to the smallest detail inside a room, suite, restaurant, lobby or spa.
I also enjoy projects with a strong identity — boutique hotels, resorts, heritage buildings, cultural spaces and private residences where the client wants something truly bespoke. These projects allow us to create narratives rooted in place, using materials, art, craftsmanship, custom furniture and sensory details to build spaces that feel unique rather than standardised.
One of the greatest challenges is protecting the essence of the concept from the first idea to the final installation. Interior design involves many layers: architecture, budgets, deadlines, suppliers, procurement, technical drawings, FF&E, contractors, regulations and client expectations. The designer must keep the emotional vision alive while making sure every practical decision supports the final result.
In hospitality interiors, the challenge is even more complex because beauty has to work very hard. A hotel space must be memorable but also durable, efficient, safe, comfortable and aligned with the operator’s standards. The most demanding part is balancing poetry and performance, creating interiors with soul that can also function perfectly every day.
I wish I had understood earlier that design is not a straight line. When we are young, we often believe that creativity is about having immediate answers. With time, I learned that the best ideas need listening, research, patience and sometimes silence. A project becomes stronger when we allow the place, the client and the material to speak before imposing a style.
I also learned that interior design is deeply collaborative. A successful project depends on designers, architects, engineers, artisans, suppliers, project managers, hotel operators and clients working together. The role of the designer is not only to imagine, but to guide complexity, to make sure that the concept, the technical process and the final atmosphere remain coherent.
Do not begin with style. Begin with meaning. Style can be seductive, but it is often temporary. Meaning is what gives a project depth. Before choosing colours, furniture or finishes, ask what the space should express, who it is for, where it belongs and what emotion it should leave behind.
I would also tell young designers to learn the technical side of the profession with the same passion they give to creativity. Understand materials, construction, FF&E, budgets, procurement, lighting, ergonomics and how people actually use space. The most powerful designers are those who can dream with freedom but deliver with rigour.
I believe the industry is moving towards a more human and experiential form of design. Clients are becoming more conscious of the emotional quality of spaces. In hospitality, in particular, luxury is no longer defined only by expensive materials or visual impact. It is increasingly defined by authenticity, comfort, wellbeing, cultural identity and the ability to create a memorable guest experience.
Technology and artificial intelligence will continue to influence how we research, visualise and manage projects, but they will not replace sensitivity. The future of interior design will belong to studios that can combine innovation with craftsmanship, sustainability with beauty, and efficiency with emotion. The challenge will be to use new tools without losing the human soul of design.
Being an SBID Accredited Interior Designer is important because it recognises interior design as a serious professional discipline, not only as an aesthetic practice. Behind every successful project there is technical knowledge, ethical responsibility, experience, coordination and a commitment to quality. Accreditation reinforces that design must be beautiful, but also competent, reliable and professionally delivered.
For me, SBID represents a connection to international standards and to a wider community of professionals who value excellence in interior design. As Founder and Creative Director of Atelier Nini Andrade Silva, it is meaningful to be part of a platform that defends the credibility of our profession and recognises the balance between creativity, rigour, experience and trust.
About Atelier Nini Andrade Silva
Atelier Nini Andrade Silva is an internationally recognised interior architecture and design practice delivering luxury hospitality, residential, commercial, and cultural projects worldwide. Led by acclaimed designer Nini Andrade Silva, the studio is renowned for creating distinctive spaces that blend contemporary design excellence with local identity, cultural authenticity, and operational functionality. With extensive experience collaborating with leading international hospitality brands and developers, the Atelier specialises in luxury hotels, resorts, branded residences, heritage transformations, and bespoke interiors. Its multidisciplinary approach combines creativity, technical expertise, and a strong sense of place to create memorable and commercially successful environments.
Helen Bygraves and Jenny Weiss, Founder Directors at Hill House Interiors, have given their insights into the industry.
Hill House Interiors was founded by Helen Bygraves and Jenny Weiss in 1997, growing from a boutique studio into one of Britain’s most established interior design practices. Today, the studio is known for couture residential interiors for private clients in the UK and internationally, with projects spanning London townhouses, country estates, private residences, villas, penthouses and yachts.
Helen and Jenny came to interiors through different but complementary creative paths. Helen’s background as a professionally trained dancer informed an instinctive understanding of proportion, movement, theatre and composition, while Jenny’s lifelong love of art, textiles and film, alongside a background in property development, evolved into a passion for creating layered, welcoming homes. Together, their shared belief that thoughtfully designed surroundings can meaningfully enhance the way people live has shaped Hill House Interiors’ client-led, refined and deeply personal approach to design.
For both of us, interiors began with a very instinctive understanding of how powerfully a space can influence the way people feel and function within it. A home is never simply a collection of rooms; it is the setting for daily life, and when it is carefully considered, it can bring comfort, ease and a strong sense of identity.
Our individual journeys into design were different, but equally grounded in creativity. Helen’s early career in dance nurtured an appreciation for rhythm, spatial awareness and storytelling, while Jenny’s route evolved through creative exploration and hands-on experience within refurbishment and design of personal properties. What ultimately drew us both to interior design was the opportunity to bring together creative thinking with a more intuitive understanding of people, shaping environments that feel authentic, considered and genuinely supportive of the way our clients live.
Building relationships with clients is undoubtedly one of the most rewarding parts of what we do. Interior design is inherently personal; clients are inviting you into their homes and, in many ways, their lives. We value the process of getting to know a client on a more intuitive level, taking time to understand not only their aesthetic preferences, but what truly makes them tick, how they live, entertain, unwind and spend time with those closest to them.
We also thrive on the creative challenge of ensuring every project feels completely unique. Hill House Interiors has never been about imposing a recognisable style. Each scheme is shaped by a combination of the client, the architecture, the setting and how the space needs to perform. The satisfaction lies in carefully orchestrating proportion, light, texture, materials and detail to create interiors that feel cohesive, characterful and quietly assured, however considered the process behind them may be.
This past year has been particularly meaningful for us. Being awarded the SBID Icon Award was an extraordinary honour, not least because it is recognition from our peers within the industry. That level of acknowledgement carries a particular significance, as it reflects both longevity and contribution to the profession over time.
Alongside this, receiving two major international accolades has further positioned Hill House Interiors on a global stage. These achievements have expanded our presence beyond the UK and reinforced the relevance of our work within a broader, international context, which is both humbling and incredibly rewarding.
Our favourite projects are those which allow us to shape the foundations of a home from the outset, considering spatial planning, flow, lighting and atmosphere before layering in the decorative elements. That holistic approach allows for a more cohesive and resolved end result.
We are particularly drawn to private residential projects that are deeply personal to the client, whether that is a London townhouse, a country estate, an overseas villa or a yacht. The most rewarding briefs are those centred around lifestyle rather than aesthetics alone, where the aim is to create a home that truly reflects how someone lives and what matters to them.
One of the greatest challenges lies in balancing creativity with the level of precision required to deliver a project successfully. A refined interior is never solely about the final aesthetic; it relies on structure, technical understanding, project management, coordination and an exceptional level of detail. Behind every composed and considered space is an extensive and highly organised process.
There is also a significant level of trust involved. Clients are allowing you into a very personal aspect of their lives, and that requires discretion, consistency and sensitivity. The designer’s role is to anticipate, resolve and guide, often quietly behind the scenes. Ultimately, one of the most rewarding moments is seeing a client’s reaction at the completion of a project, particularly when the result surpasses their expectations. That emotional response is what makes the entire process worthwhile.
If we were speaking to our younger selves, we would say to stay curious and trust your instincts. Research is invaluable, and a willingness to keep learning will always strengthen your work.
We also came into building a business without formal business training, and in hindsight, we would strongly recommend seeking guidance early on, whether through a business coach or industry body. There will inevitably be challenging periods, so resilience, careful planning and a clear long-term vision are essential.
The SBID, in particular, has been a constant source of support, providing guidance, structure and reassurance as we have grown. Having that level of professional backing has been invaluable throughout our journey.
Understand your market and remain confidently within your lane, as that clarity will shape not only your design direction but also the clients you attract. For us, focusing on the luxury residential sector has defined both our creative approach and the way we position the business. Alongside this, presenting your work well is essential, so investing in professional photography from the outset will ensure it is perceived in the right way. Equally important is building a strong foundation around you by joining professional bodies such as SBID and engaging with networking groups and industry organisations. These connections provide invaluable support, visibility and opportunity, reinforcing both your credibility and your longterm growth within the industry.
Clients today expect more from their homes than ever before. A home is no longer purely a place to live; it needs to function as a sanctuary, a wellness space, and often a working environment. That shift has changed the way spaces are designed, with a greater emphasis on adaptability, comfort and emotional wellbeing.
Having experienced multiple shifts within the industry over the years, we have learned the importance of remaining agile and open to change. The ability to adapt, respond to new ways of living and interpret evolving styles is key to staying relevant.
The rise of AI is also influencing expectations, with clients arriving with highly visualised ideas of their ‘ideal’ home. A crucial part of our role is to interpret those ideas, assess what is both practical and achievable, and translate them into a design that works in reality, both functionally and aesthetically.
SBID accreditation means a great deal to us. It represents credibility, professionalism and a recognised standard within the industry. It provides reassurance to clients, while also reinforcing the integrity of the work we deliver.
Beyond that, it offers a sense of support and community. Having that professional backing, guidance and recognition has been invaluable throughout our career, and it continues to play an important role in how we position ourselves and our projects within the industry.
About Hill House Interiors
Hill House Interiors is the fruit of a 25-year friendship between its founding partners, Jenny Weiss and Helen Bygraves. Their creative collaboration is built on a shared belief that beautiful surroundings can transform people’s lives. Their client-centred approach has garnered a multitude of awards while their business has grown over the years into one of Britain’s leading interior design practices, with a 30-strong team of designers and architects. Hill House Interiors operates out of a creative studio and lifestyle showroom in the UK, and a luxurious newly opened office near the DIFC in Dubai. With a global reach, Hill House Interiors works on high-end residential projects in locations as diverse as London, Dubai, New York, Lake Como, Antibes, the Bahamas, Ibiza and L.A. Projects can range from exclusive penthouse apartments to palatial homes, lakeside villa retreats or beautifully engineered yachts.
Frank Iaria, Kitchen and Interior Designer at Mint Kitchen Group, has given his insights into the industry.
My career in the industry began as an apprentice cabinet maker, which gave me a strong hands-on understanding of joinery, construction and detailing from the very beginning. After sustaining a back injury, I moved away from the physical side of cabinet making and into the design field. What started as a necessary career shift quickly became a genuine passion, and I found that I enjoyed the creativity, problem-solving and client interaction of design even more.
I went on to become a Certified Kitchen Designer and built my career around creating highly functional, detailed and beautifully resolved kitchen spaces. After working with major retailers and developing a strong reputation within the industry, I decided to go out on my own and open my own showroom. From there, it was a natural progression to expand into other areas of the home, as many of my clients were renovating multiple spaces at once. This led me to further study bathroom design, allowing me to provide a more complete design service across kitchens, bathrooms, laundries, wardrobes and whole-home joinery.
Entering industry awards became an important turning point in my career. In the first year alone, we achieved 10 awards, which gave me the confidence and motivation to continue pushing the design side of the business further. Year after year, we continued entering awards and collecting recognition, which helped strengthen our reputation and increase demand for our style of work.
As the business continued to grow, I formed a group with industry colleagues to create better buying power, greater exposure and stronger collective advertising. This became Mint Kitchen Group. Since then, we have continued to build on our success and are proud to have become one of the most awarded kitchen design groups in Victoria. Today, I operate two design studios with a team of six designers, and much of our work comes through referrals from existing and past clients.
I am very proud of the work we produce and the care we put into every project. For us, great design is not only about how a space looks, but how well it functions, how carefully it is detailed and how successfully it is executed. That commitment to detail, craftsmanship and the client experience continues to drive the way we work today.
I was drawn to interior design because it combines creativity with problem-solving in a very practical and meaningful way. My early background in cabinet making gave me a strong understanding of how things are constructed, but moving into design opened up a much broader opportunity to shape spaces from the very beginning. I enjoyed being able to think not only about how something was made, but how it would function, how it would feel, and how it would improve the way people live.
For me, the profession is about much more than selecting finishes or creating a stylish space. It is about listening carefully, understanding a client’s lifestyle, and then translating that into a design that is both beautiful and practical. That combination of creativity, functionality, detail and human connection is what first attracted me to the industry and continues to motivate me.
I really enjoy the process of taking a client’s brief and turning it into a resolved design that feels both beautiful and effortless. There is something very rewarding about working through the details — the layout, proportions, materials, storage, lighting, finishes and joinery — and seeing all those elements come together into one cohesive space.
I also enjoy the relationship-building side of the profession. Every client is different, and every project has its own story. Being trusted to help shape such personal spaces in someone’s home is a privilege. The best part is seeing the finished result and knowing that the design has genuinely improved the way the client uses and enjoys their home.
One of my most memorable career highlights from the past year has been the transformation of our South Melbourne Design Studio. We converted what was once a commercial office space into an apartment-style showcase, designed to feel like a real home rather than a traditional showroom. This allowed us to demonstrate the type of work we do across all areas of the home, from kitchens, bathrooms and laundries through to wardrobes, living spaces, custom furniture and detailed joinery solutions.
The studio was designed to help clients experience our work in a more personal and immersive way. Rather than viewing individual displays in isolation, they can walk through connected spaces and see how materials, finishes, storage, lighting and joinery details work together in a complete interior environment. It has become a valuable space for presenting design ideas, inspiring clients and showing the level of detail, craftsmanship and functionality that sits behind every project we deliver.
My favourite projects are those where we are able to create a complete design solution rather than looking at one room in isolation. Whole-home renovations, kitchens connected to living spaces, and projects with custom joinery throughout are particularly rewarding because they allow us to create consistency, flow and a strong design language across the home.
I also enjoy projects that require careful planning and detailed problem-solving. Kitchens, bathrooms and laundries can be some of the most technically demanding spaces in a home, but that is what makes them interesting. When a space works beautifully from both a design and functional perspective, the result feels seamless — and that is always the goal.
One of the most challenging aspects is balancing creativity with practicality. A successful design needs to look beautiful, but it also needs to be functional, buildable, durable and suited to the client’s budget and lifestyle. There are often many layers to consider, from design intent and client expectations through to manufacturing requirements, site conditions, lead times and installation details.
Communication is also critical. Interior design involves many people — clients, designers, suppliers, trades, manufacturers and installers — and every decision needs to be clearly documented and understood. The smallest detail can have a big impact, so maintaining clarity throughout the process is one of the ongoing challenges, but it is also what leads to the best outcomes.
I wish I had understood earlier just how much of interior design is about communication, documentation and decision-making. Many people see the creative side of the profession, but behind every successful project is a huge amount of planning, coordination and attention to detail. Good design is not just about the idea — it is about how clearly that idea is communicated and executed.
I have also learned that every project will evolve. Site conditions, budgets, client preferences and technical requirements can all shift along the way. Being flexible, calm and solutions-focused is essential. The ability to adapt while still protecting the overall design intent is one of the most valuable skills a designer can develop.
My advice would be to learn how things are actually made. Understanding construction, manufacturing, installation and detailing will make you a much stronger designer. A concept may look beautiful on paper, but it needs to work in the real world. The more you understand materials, hardware, joinery construction, clearances and site limitations, the better your designs will become.
I would also encourage aspiring designers to listen carefully. Clients may not always know how to explain exactly what they want, but they will usually give you clues through the way they talk about their lifestyle, frustrations and routines. A great designer knows how to interpret those details and turn them into a space that feels considered, personal and practical.
I think the industry will continue moving toward more personalised, lifestyle-driven design. Clients are becoming more considered about how their homes function, not just how they look. They want spaces that support the way they live, work, entertain and relax, with a greater focus on quality, longevity and intelligent storage solutions.
I also see technology, documentation and communication becoming even more important. Clients expect a clearer understanding of their design before it is built, while design and production teams need accurate information to reduce errors and improve efficiency. The future of interior design will still rely heavily on creativity, but it will also depend on strong systems, clear processes and better integration between design, documentation and delivery.
Being an SBID Accredited Interior Designer represents professional recognition and a commitment to maintaining high standards within the industry. It is an acknowledgment of experience, design capability and professionalism, but also of the responsibility designers have to deliver considered, ethical and well-resolved outcomes for their clients.
For me, SBID accreditation is also about being connected to a broader international design community. It reinforces the importance of continual learning, professionalism and striving for excellence in every project. It is a privilege to be recognised within an organisation that values design integrity, innovation and the ongoing development of the interior design profession.
About Mint Kitchens by Designwize
Mint Kitchen Group is a Melbourne-based kitchen and interiors company specialising in the design, manufacture and installation of bespoke joinery. We create custom kitchens, bathrooms, laundries, wardrobes and interior spaces that are tailored to each client’s lifestyle, home and design vision. With a strong focus on quality craftsmanship, practical functionality and personalised service, our team manages each project from concept through to completion. By combining thoughtful design with locally made joinery and attention to detail, Mint Kitchen Group delivers beautifully resolved spaces that are made to be lived in and built to last.
At Hill House Interiors, a garden is never treated as an afterthought. It is considered part of the home’s story: a space with its own rhythm, atmosphere and purpose, yet one that should feel naturally connected to the interiors around it.
For Jenny Weiss, Co-Founder and Director of Hill House Interiors, the story of her Surrey garden began with a blank canvas and a clear intention: to create an outdoor room that felt calm, escapist and deeply personal. Having moved from a larger property, Jenny knew that every inch of the garden would need to work beautifully. Rather than seeing its more compact proportions as a limitation, she saw an opportunity to design with precision, creating a space that felt as layered and liveable as any interior.
The garden was imagined as a sanctuary, blending Mediterranean charm with touches of English heritage. It was not designed simply to be looked at, but to be lived in: somewhere to dine, unwind, listen, gather and retreat throughout the seasons. As with any Hill House Interiors project, the starting point was not only how the space should look, but how it should make people feel.
Because the house was a new build, Jenny was able to shape the garden from the ground up. The developer agreed to leave the outdoor area untouched, giving her the freedom to create something entirely personal. The layout had a natural sense of potential, but it required careful planning to ensure each element felt purposeful, balanced and inviting.
The relationship between inside and out became central to the design. The garden is the first thing visible on entering the house, drawing the eye through the interior and immediately creating a sense of calm. Bifold doors open completely from the main living area, allowing the outdoors to become part of the daily rhythm of the home rather than a separate space beyond it.
This sense of flow informed every decision. The dining area was positioned closest to the house for easy access to the kitchen, reinforcing the feeling of the garden as a true extension of the living space. Practicality was also carefully considered but never allowed to interrupt the atmosphere. Heaters and an awning were incorporated so that the garden could be enjoyed beyond the height of summer, despite the unpredictability of the English weather.
Planting was used to bring structure, softness and a sense of escape. Evergreen planting forms the foundation of the scheme, ensuring the garden retains depth and character throughout the year. Italian cypress trees and mature olive trees introduce a Mediterranean quality, while bay trees, pleached Photinias and Annabelle hydrangeas bring texture, rhythm and romance. The hydrangeas, which bloom from July through to October, add a generous seasonal note during the summer months.
Materials were selected with the same care as an interior palette. Paved Indian sandstone and Millboard decking define the different areas while allowing the space to feel cohesive. Gloucester sofa seating brings the comfort of an interior sitting room outdoors, while a Stark outdoor rug anchors the seating area and adds softness underfoot. Each element contributes to the sense of the garden as a room in its own right.
For Jenny, nature is both restorative and inspiring, and the garden was designed to engage more than the eye. Texture, sound, light and atmosphere all play a role in how the space is experienced. Concealed speakers were integrated throughout, allowing music to become part of the mood without disrupting the visual calm. Architectural lighting adds depth and warmth after dark, while the surrounding forest was also lit, turning it into a feature in its own right and extending the feeling of space beyond the garden’s physical boundaries.
As evening falls, the garden takes on a different character. Geometric lanterns by Contardi add a decorative layer, bringing intimacy and a gentle sense of theatre. The result is a space that feels quietly transportive: personal, purposeful and deeply connected to the home.
Jenny’s garden reflects a wider belief at Hill House Interiors: that outdoor spaces should be designed with the same imagination, sensitivity and attention to detail as interiors. Whether working with a generous landscape, a city terrace or a more compact garden, the most successful outdoor spaces are those that feel effortless, atmospheric and genuinely lived in.
Here, every detail has a role to play. The sightline from the entrance, the position of the dining area, the layered planting, the lighting, the sound and the surrounding landscape all work together to create a sense of ease and belonging. The garden does not sit apart from the home; it completes it.
Design from the inside out: Jenny planned the garden around how it would be seen and used from within the home: the first view from the front door, the bifold doors from the main living space, and the dining area placed closest to the kitchen. This helps the garden feel connected to daily life rather than simply decorative.
Design for the senses: A successful garden is sensory, not just visual. Planting, sound, lighting, texture and scent all contribute to the experience. Jenny integrated concealed speakers throughout the space so music could become part of the atmosphere without disturbing the visual calm.
Use lighting to extend the space: Rather than lighting only the garden itself, Jenny also lit the surrounding forest, turning it into part of the composition. This gives the garden depth after dark and creates a greater sense of escape.
Give the garden year-round architecture: Evergreen planting, Italian cypress, mature olive trees, bay trees and pleached Photinias give the garden structure and permanence, while Annabelle hydrangeas bring softness and seasonal romance.
Join SBID
Find out more about our flexible membership structure.
By subscribing, you agree to be added to SBID’s mailing list. As an industry’s standard bearer organisation, we strive to bring you the most up to date news and access to exclusive industry content through our various newsletters.
First Name
Last Name
Email Address
I accept the SBID Terms of Use