Caroline Roles, Design Principal at Spectrum Workplace, has given her insights into the industry.
I’ve wanted to be a designer for as long as I can remember. Growing up, I was always creating—whether that was making things by hand or painting—and I naturally became interested in interiors through helping my dad decorate our homes. That early exposure made me aware of how a space can change how people feel and live. Over time, that creative instinct combined with my enjoyment of problem-solving, led me to pursue interior design as a career.
What I enjoy most is the balance between creativity and functionality. I love the conceptual stage—developing ideas, materials, and palettes—but equally, I enjoy resolving the practical challenges that come with delivering a project. Ultimately, the most rewarding part is transforming a space so it not only looks good but works better for the people using it. I enjoy the process of understanding a client’s needs and translating that into a thoughtful, functional design.
Over the past year, leading the design team at Spectrum Workplace has been a real highlight. Seeing projects come together collaboratively and watching the team grow and develop has been incredibly rewarding. I tend to take a supportive and empathetic approach to leadership, so creating an environment where individuals feel understood, valued, and able to contribute has been particularly important to me. Delivering workplace environments that genuinely improve how people work and interact stands out as a key achievement— The Southern Co-operative Ltd project is a perfect example of this—but equally, seeing the confidence and capability of the team grow along the way has made it especially memorable.
I particularly enjoy workplace projects because they have such a direct impact on people’s daily lives, with real opportunities to influence wellbeing, productivity, and culture through design. An excellent showcase of this is our workplace transformation project for Gen II Fund Services, LLC. That said, having worked across residential, hospitality, education, and public sectors, I value the variety each one brings, as every sector presents different challenges and keeps the work fresh.
Balancing creativity with constraints is always a challenge—whether that’s budget, time, or technical limitations. Managing client expectations while maintaining design integrity can also be complex. As a Design Principal, another challenge is ensuring consistency and quality across multiple projects while supporting and leading a team.
I think understanding just how much of the role involves coordination, communication, and problem-solving—not just design—would have been useful early on. Interior design is as much about managing people, processes, and details as it is about creativity.
Stay curious and keep creating. Develop your creativity outside of work as well as within it. But also build strong organisational and communication skills as being able to turn ideas into reality is what sets a good designer apart.
I think the interior design industry will continue to focus strongly on wellbeing, flexibility, and sustainability, particularly within workplace design. Spaces need to work harder than ever, supporting different ways of working while also creating meaningful experiences that draw people in. Offices are increasingly being designed as destinations for collaboration and focus work, with hybrid working, and hospitality-led experiences shaping the brief.
Being an SBID Accredited Interior Designer and Design Practice is a great achievement, and represents a commitment to professionalism, quality, and continuous development. It’s an important benchmark that demonstrates credibility within the industry and reassurance for clients that they’re working with a qualified and experienced designer.
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.
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Jan Metcalfe-Barnett, Founder & Interior Designer at Fusion Interior Design, has given her insights into the industry.
Jan’s path into interior design was shaped by a passion for creativity and well-crafted spaces rather than a conventional route. After early roles in childcare and banking, a move to Ireland saw her working in a furniture and antiques showroom, where she developed a strong appreciation for craftsmanship and curated interiors.
Returning to London in the early 1990s, Jan gained hands-on experience within a leading interior design practice while completing formal training, building a solid foundation in high-end residential design.
She went on to join Roomservice Furnishing as a design manager, creating showhomes for major UK housebuilders and refining her ability to design aspirational yet practical interiors.
In 1999, Jan founded Fusion Interior Design. With over 25 years’ experience, she has since transformed hundreds of homes, creating spaces that are thoughtful, functional, and tailored to how her clients live.
For me, it was never just about how a space looks — it was about how it feels to live in. Early on, I realised that thoughtful design has the power to completely change how someone experiences their home day to day. I was drawn to the idea that good design isn’t just aesthetic, it’s practical, emotional, and deeply personal. That’s what has kept me in the profession for over 25 years.
Without question, it’s the problem-solving. Most clients come to us not because they want something “pretty,” but because something in their home isn’t working. I enjoy unpicking that — understanding how they live, where the frustrations are, and then creating a layout and design that resolves it. Seeing that moment where a client says, “That’s exactly what we needed” — that’s the most rewarding part.
Being selected as a finalist in the Epsom & Ewell Business Awards was a real highlight. We’ve always positioned ourselves as a grounded, client-focused studio rather than chasing recognition, so to be acknowledged in that way felt meaningful.
We particularly enjoy working on renovations and extensions at the planning stage — before anything is built. That’s where we can add the most value. Often, architectural drawings don’t fully consider how a space will function day-to-day, so we step in to refine layouts, improve flow, and help clients properly visualise their space through 2D plans and 3D visuals.
That early stage is where costly mistakes can be avoided, and where the biggest transformation really begins.
One of the biggest challenges is helping clients navigate the sheer number of decisions involved in a project. It can feel overwhelming for them, particularly during renovations. Our role often becomes as much about providing clarity and confidence as it is about design.
Managing expectations around time, budget, and the realities of building work is also key — good communication is everything.
How much of the role is about people, not just design. You’re guiding clients through significant investments in their homes, often during stressful periods. Emotional intelligence, communication, and the ability to simplify complex decisions are just as important as creativity.
Learn how to design for real life, not just for visuals. A beautiful space that doesn’t function properly will never truly succeed. Focus on space planning, flow, and how people actually live — that’s where good design starts.
I think we’ll continue to see a shift away from purely aesthetic-led design towards more practical, lifestyle-driven interiors. Clients are becoming more informed and want spaces that genuinely work for them — not just something that looks good in a photograph.
There’s also a growing appreciation for planning properly before building, particularly with rising costs. That early design stage is becoming more valued, which is something we strongly advocate.
Alongside this, sustainability is becoming an increasingly important consideration. Clients are more conscious of being planet-friendly — looking to reuse what they already have where possible, recycle responsibly, and invest in environmentally considered products rather than replacing everything unnecessarily. It’s less about fast design and more about thoughtful, long-term decisions that are better for both the home and the environment.
Accreditation with the Society of British and International Interior Design represents credibility and professionalism within an industry that isn’t always regulated. It reassures clients that they are working with a qualified, experienced designer who works to recognised standards.
For us, it aligns with how we’ve always approached our work — considered, professional, and focused on delivering real value to our clients.
About Fusion Interior Design
Fusion Interior Design is a Surrey-based studio specialising in thoughtfully planned homes that balance practicality with refined design. With over 25 years’ experience, we support homeowners through every stage of the design process — from single-room schemes and layout planning to full-scale renovations. Our expertise lies in intelligent space planning, resolving layout challenges before work begins. Through clear 2D plans and realistic 3D visuals, we give clients the confidence to move forward without uncertainty. Whether you need focused guidance for one space or a complete design service, we create interiors that feel cohesive, functional and enduring — designed for real life, not just appearance.
Maria Benaki, Founder & Interior Designer at Studio Benaki, has given her insights into the industry.
Born and raised in Greece, I moved to the UK to further my studies before building a career in civil engineering. My professional journey began in the energy industry, where I spent over a decade working as a civil engineer on offshore development projects — a career that sharpened my analytical thinking, technical rigour and project management skills.
Driven by a lifelong passion for design, architecture and the arts, I went on to retrain at the prestigious KLC School of Design, a turning point that united my creative sensibility with my engineering background in a way that felt entirely natural.
Shortly after completing my diploma, I founded Studio Benaki — a London based interior design studio with a vision to create deeply personal, expressive and highly functional spaces for residential and commercial clients across London and in Greece.
The decision to change careers and work in the interior design industry grew naturally within me. Very early in my civil engineering career, I felt a strong urge to combine my creativity with my technical background, analytical thinking and site expertise. I have also always admired people who felt fulfilled through their work, and that simple observation sparked my own career change journey. Having lived away from my home country for many years, I also came to understand just how important it is for spaces to truly feel like home — and how powerful good design can be in creating that sense of belonging, wherever you are in the world.
What eventually drew me to make the transition was the understanding that residential interior design has the power to genuinely change how people feel in their everyday lives — bringing a little of their heart, their history and their personality into spaces that are both functional and timeless. That conviction led me to retrain at London's KLC School of Design and ultimately found Studio Benaki in 2025.
There are many aspects of interior design that I find rewarding. But if I had to choose, it would be the spatial planning phase. The stage where functionality is at its most critical and where my civil engineering instincts truly come alive. I find myself imagining people moving through the spaces, living in them, using them at different times of day. How does a family flow through a kitchen in the morning? How does a room need to work differently in the evening? Getting that spatial logic right is the foundation on which every timeless, functional interior is built, and it is one of the things my engineering background equips me particularly well for. There is something deeply satisfying about solving a complex spatial challenge beautifully and seeing it transform how a client lives in their home every day.
Without question, it has been founding Studio Benaki and delivering my first projects under the studio name. Building a London interior design practice from the ground up — developing the philosophy, the process and the identity — has been both challenging and deeply fulfilling. Seeing the studio take shape, working with wonderful clients and receiving such a warm response from the design community has been incredibly encouraging.
This first year has reinforced my belief that great interior design always comes back to the same principles: listening carefully, designing with purpose and delivering spaces that genuinely improve how people feel every day. It has been the most rewarding chapter of my career so far — and very much just the beginning.
I am drawn to challenging briefs. Homes that are dated, spatially inefficient or underperforming, where careful spatial planning can genuinely transform how a space flows and functions. There is something deeply satisfying about taking a residential interior that is not working and reimagining it entirely, creating something timeless and functional from what was once frustrating or overlooked.
It is also wonderful when clients ask me to incorporate sentimental pieces, heirlooms and art into their interiors. You know instantly that the spaces will be deeply personal and expressive — rooted in real lives and real stories. That connection between design and personal narrative is at the heart of the Studio Benaki approach, and it is what elevates a beautiful interior into a truly meaningful home.
I also have a deep love for historical buildings. There is something unique about discovering the history of an old building, understanding the lives that once occupied the space and reimagining it for the present and the years to come. That dialogue between past and present — honouring what came before while creating something that feels entirely alive today — is one of the most rewarding aspects of residential interior design.
One of the most consistent challenges is balancing creative ambition with real-world constraints — budget, timeline, structural limitations and the practical realities of a live building. Clients often arrive with inspiring references and a clear vision, and part of my role at Studio Benaki is to honour that vision while navigating what is genuinely achievable. That combination of creative problem-solving and technical precision is where my engineering background proves invaluable.
Managing expectations with honesty and clarity is something I take very seriously. A good interior designer does not simply say yes to everything — they find the best possible solution within the constraints and communicate that process transparently, ensuring the result is always timeless, functional and deeply personal to the client. Building that trust, from the very first consultation through to the final touches of a completed home, is the foundation on which every successful interior design project is built.
The first thing that comes to mind is that building a successful interior design practice takes time, patience and trust — and that is something worth embracing rather than rushing. A studio built on genuine relationships, careful work and clients who love their homes will always outlast one built on volume and speed. That is the foundation Studio Benaki is built on.
I also wish I had understood earlier how much of interior design is about project management, communication and relationships — not just creative vision. The ability to coordinate trades, manage timelines, handle procurement and keep a client calm and confident throughout a complex process is equally critical to delivering timeless, functional interiors. My civil engineering background helped me enormously here, but I think many designers entering the profession underestimate the operational side of the work. Great interior design is as much about the process as it is about the result.
Learn to listen before you design. The most beautifully executed residential interior will fall flat if it does not truly reflect the person living in it. Before reaching for the moodboard, invest real time in understanding your client — how they move through their home, what they find stressful, what brings them joy, and what home means to them emotionally.
Design rooted in that depth of understanding will always feel more personal, more considered and more lasting than design led by trends or aesthetics alone. That human connection is what transforms a beautiful space into a truly meaningful one — and it is the quality I would encourage every aspiring interior designer to cultivate from the very beginning.
Clients are becoming increasingly discerning — not just about aesthetics, but about the full experience of working with an interior designer. They want clarity, transparency and a process that feels calm and collaborative. Studios that invest in genuine relationships, structured processes and honest communication will be the ones that thrive.
Technology and artificial intelligence are also reshaping how designers work, and I think it is important to embrace the tools that genuinely enhance the design process — from spatial planning software to visualisation tools that help clients see their future home more clearly. That said, I firmly believe the most meaningful aspect of residential interior design will always remain deeply human. No algorithm can replicate the understanding that comes from sitting with a client, learning their story and translating that into a bespoke interior that feels truly personal.
It means a great deal, particularly at this stage of building Studio Benaki as a London interior design studio. SBID accreditation represents a commitment to professional standards, ethical practice and continuous development — values that are absolutely central to how I work across every residential and commercial interior design project.
For clients making a significant investment in their home, it offers genuine reassurance that they are working with a qualified interior designer who is accountable, professional and part of a respected industry community. For me personally, it is also a mark of belonging to a profession I care deeply about. Interior design has the power to profoundly change how people feel in their everyday lives and being part of an organisation that champions and upholds those standards is something I am genuinely proud of.
About Studio Benaki
Studio Benaki is a London-based interior design studio specialising in residential projects in London and Greece. With a focus on contemporary design, the studio crafts deeply personal, expressive and highly functional homes. From full renovations to thoughtful one-room transformations, each project is approached with warmth, care and a deep respect for both the architecture and the people who inhabit it. What makes Studio Benaki distinct is the way it bridges heritage, craftsmanship and clarity of execution. Drawing on Maria’s background in civil engineering and a rich cultural perspective shaped by life in both Greece and the UK, founder Maria Benaki brings a rare combination of creative intuition and practical expertise into her projects.
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.
Rachana Gupta, Founder & Principal Designer at Oraanj Interior Design, has given her insights into the industry.
I am the Founder and Principal Designer of Oraanj Interior Design, a London-based studio specialising in luxury residential, commercial, and turnkey interior design in London.
Our work focuses on creating practical, buildable interiors through space planning, interior architecture, bespoke joinery, and full procurement. We approach every project with a strong technical foundation—ensuring that what we design can be executed seamlessly on site.
Over the years, we have worked on a wide range of projects across London, from full home renovations to commercial spaces, always focusing on delivering well-planned, functional, and refined interiors that work in real life, not just visually.
I was always interested in how spaces affect the way we live, but what really drew me into interior design was seeing how often homes looked beautiful but didn’t function well. Early in my career, I worked on a London apartment where the finishes were high-end, but the layout was inefficient—there was poor circulation, limited storage, and the space didn’t feel comfortable to live in.
That experience made me realise that design is not just about aesthetics. It’s about solving problems through interior architecture and space planning in London. I wanted to focus on creating spaces that are not only visually refined but also practical and well thought through.
Today, that philosophy defines our work at Oraanj Interior Design. We prioritise layout, usability, and buildability from the start, ensuring every design decision improves how the space is used on a daily basis.
The part I enjoy the most is solving spatial problems and improving how a space works. Every project comes with its own challenges, and finding the right layout solution is always rewarding.
For example, we worked on a family home where the living and dining areas felt cramped despite having a generous floor area. Instead of adding more elements, we reconfigured the layout, adjusted door positions, and introduced bespoke joinery to create integrated storage. This instantly improved circulation and made the space feel much larger.
I also enjoy the detailing stage—working on lighting, materials, and finishes. Seeing everything come together through a turnkey interior design process is very satisfying because every detail has been carefully considered. It’s that transition from concept to a fully functioning space that makes the process enjoyable.
One of the most memorable highlights this year was delivering a full turnkey interior design project in London where we managed everything from concept to completion.
The project had several constraints, including structural limitations and a tight timeline. There were also coordination challenges between different contractors and suppliers. To manage this, we developed detailed technical drawings, planned procurement in phases, and maintained close communication with the site team.
Despite these challenges, the project was completed smoothly, and the client moved into a fully finished home without delays or stress. For me, the most rewarding part was seeing how a structured process can simplify what is usually a complex experience.
Moments like these reinforce the importance of combining design with execution. It’s not just about creating a beautiful space, but about delivering it efficiently and professionally.
I particularly enjoy projects where we are involved from the early stages, especially full renovations or layout reconfigurations. These projects allow us to apply space planning and interior architecture in London in a meaningful way.
In one project, the client wanted more storage and better functionality, but did not want to extend the property. By reworking internal layouts, integrating custom storage, and designing multi-functional furniture, we were able to completely transform how the home worked without increasing the footprint.
I also enjoy high-end residential projects because they require a balance between aesthetics and everyday usability. However, commercial projects are equally interesting as they involve a different scale and focus on user experience and brand identity.
The variety keeps the work dynamic, but ultimately, I enjoy projects where design can genuinely improve how people live or use a space.
One of the biggest challenges is managing expectations while working within real-world constraints. Clients often come with inspiration images, but every property has limitations—whether structural, regulatory, or budget-related.
For example, we worked on a project where the client wanted a floating staircase feature that wasn’t feasible due to structural restrictions. Instead of simply rejecting the idea, we developed an alternative design that achieved a similar visual effect while remaining safe and compliant.
In London, these challenges are quite common due to building regulations and property constraints. That’s why we focus heavily on technical drawings, planning, and coordination. Clear communication is also key—helping clients understand what is possible and how best to achieve their goals.
Balancing creativity with practicality is what makes the role challenging, but also very rewarding.
I wish I had understood earlier how important the technical and execution side of design is. Many people assume interior design is mainly about selecting finishes and furniture, but in reality, it involves much more.
Understanding construction, services, and how different elements come together on site is critical. For example, even small details like lighting placement or joinery dimensions can significantly impact the final outcome.
Over time, I realised that creating buildable designs and detailed technical drawings is what ensures a project runs smoothly. Without that clarity, even the best ideas can fail during execution.
This understanding has shaped our approach at Oraanj Interior Design, where we prioritise planning, coordination, and precision from the start of every project.
Focus on learning how things are built, not just how they look.
A strong understanding of space planning, technical drawings, and construction processes will set you apart in the industry. While creativity is important, the ability to translate ideas into real, buildable solutions is what defines a successful designer.
If you can design a space and clearly explain how it will be executed, you will add far more value to your clients and collaborators.
Interior design today requires both creativity and technical knowledge, and developing both skills early on will help you build a strong foundation for your career.
The industry is moving towards more comprehensive, full-service solutions. Clients are increasingly looking for designers who can manage everything—from concept to completion—rather than just providing design ideas.
There is a clear shift towards turnkey interior design in London, where the focus is on delivering a seamless experience. Clients value efficiency, clarity, and accountability, especially for complex projects.
There is also a growing emphasis on practical design—spaces that are functional, adaptable, and long-lasting. People are more conscious about how their spaces perform over time, not just how they look initially.
Overall, the industry is becoming more integrated, with design, execution, and project management working closely together.
Being SBID accredited represents professionalism, credibility, and trust. It provides reassurance to clients that they are working with a qualified interior designer in London who follows recognised industry standards.
For us, it also reflects our commitment to delivering structured, high-quality projects. We place strong emphasis on process, detail, and execution, and this accreditation supports that approach.
It’s an important recognition that not only strengthens our brand but also builds confidence for clients who are investing in their homes or businesses.
About Oraanj Interior Design
Luxury Interior Design in London for Residential and Commercial Projects delivered through a structured, technical, and design-led approach. As an award-winning Interior Design Company, Oraanj Interior Design creates refined, high-performance interiors for homes, offices and hospitality spaces across London and international locations. Our approach combines creative vision with technical expertise, ensuring every project is both visually compelling and practically deliverable. From concept to completion, we focus on space planning, interior architecture, lighting design, and bespoke detailing to achieve clarity, balance, and long-term usability. With expertise in technical drawings, procurement and turnkey high end interior design projects, we deliver fully coordinated, build-ready solutions, ensuring seamless execution and a refined, high-end result.
Anita de Villiers, Principal Interior Designer at Anita de Villiers Interior Design, has given her insights into the industry.
My route into interior design was not a straight one and I think that has shaped how I work. I began my career in South Africa with a BSc degree in Mathematics and Computer Science, followed by several years in the Information Technology sector. That background gave me a strong foundation in conceptualisation, project management and working closely with clients, skills I rely on every day as a designer.
My interest in interiors started as a serious hobby: I designed, built and furnished a few luxury homes and found that I enjoyed the technical and creative demands of the process. I made the shift to full-time interior design when I relocated to Cyprus in 2012, where I formalised my qualification and ran a successful studio for six years. Every project came through referral and covered high-end residential properties alongside some commercial commissions.
In August 2018, I settled in Surrey with my family and have since worked across a wide range of residential projects in the area: from full home renovations in the Surrey Hills to grand master bathrooms on Wentworth Estate. I now run a boutique interior design practice based in Reigate, specialising in creating refined yet practical home interiors across Surrey and the South East of England. My approach is deeply personal and collaborative: I manage every stage of the design journey myself, from the initial site survey through to the final specification.
Growing up in South Africa, many homes were designed around large, open-plan spaces, natural light and raw, organic textures that flowed out into generous gardens. Beautiful spaces were simply part of the culture and outdoor living was part of everyday life. I was always drawn to art and collecting interesting pieces and putting a room together came naturally to me long before I understood the principles behind why it worked.
Travelling to more exotic destinations and staying in boutique hotels has always been a source of inspiration and still is.
It was building speculative homes in South Africa that made me decide to shift my career to interior design. I realised I could combine the technical and organisational skills I had developed in my IT career with a creative discipline that felt genuinely rewarding.
Each project becomes very personal as I work through the design process. My approach is highly visual: I build up a fully realised design on paper before anything is touched on site. Seeing a client's reaction when they can clearly visualise their home is a real highlight for me.
I also enjoy the technical side, particularly designing bathrooms and bespoke joinery. These are demanding spaces where every millimetre counts and I find real satisfaction in solving the spatial challenges first: finding a layout that flows, then layering in the materials, lighting and finishes to make the room work beautifully on every level.
Working directly with each client from start to finish means I know the brief inside out and I can make decisions on their behalf with confidence. That level of personal involvement is something I value enormously and I think it shows in the result.
The Reigate Elegant Living Room project is a genuine highlight from the past year. What made it particularly satisfying was seeing how much could be achieved through considered design and a well-managed budget. The room was completely transformed from an underused, disconnected space into a luxurious and elegant living room that the family now uses and loves.
The transformation was achieved through carefully chosen elements: bespoke furniture pieces designed specifically for the proportions of the room, a layered lighting plan with dramatic statement pieces and a palette of luxurious materials and finishes. Together, these gave the space a real sense of depth and warmth. Every decision was deliberate and the result was a room that felt both impressive and genuinely liveable.
The project was subsequently featured on Pure White Lines and on SBID, where it was highlighted as an example of creating luxury living through lighting design. The client described the process as a pleasure from start to finish. That combination of a satisfied client and industry recognition made it a genuinely memorable project.
Bespoke bathroom design is where I feel most in my element. Over my career I have designed hundreds of bathrooms and the technical demands of the discipline remain as engaging as ever. Every millimetre is considered and accounted for: the layout, the plumbing positions, the lighting layers, the material choices, the joinery. To me, a well-designed bathroom feels like a jewellery box: compact, considered and beautiful in every detail. Technical precision and good design go hand in hand in these spaces.
Open-plan living areas are another favourite challenge. Kitchen, dining and lounge spaces that flow into one another need to work hard: each zone has its own function and feel, yet everything must connect cohesively. Getting those busy family spaces to feel right, both practically and visually, is something I find enormously satisfying.
New builds offer a different kind of reward. Working alongside architects and builders from the beginning means I can influence decisions around flow, electrical planning and surface materials before anything is fixed in place. That level of involvement from the outset produces a far more considered and cohesive result.
Working on period properties in Surrey is also particularly rewarding. The character is already there in the architecture and my role is to work with it, not against it.
One thing that surprises many clients is how long the design process takes. Thorough design cannot be rushed: sourcing the right products alone is enormously time-consuming and the responsibility that comes with those decisions is significant. Every specification must be right: the right material, the right finish, the right supplier, at the right price point.
I invest heavily in accurate 3D visuals and detailed technical design packs for this reason. Visuals give clients clarity and confidence to approve the design with conviction, while precise technical drawings remove ambiguity for contractors and ensure the design is executed exactly as intended. Both are essential tools for reducing risk on site.
The most challenging aspect for me personally is managing the commercial side of a project: procurement, budget control, project timelines and making sure the client's investment is well protected throughout. These are not the visible or glamorous parts of interior design, but they are what separates a well-run project from a stressful one. Getting those elements right is just as important as the design itself.
Project management and clear communication with clients, contractors and suppliers are skills I understood to be important early on. What I did not fully appreciate was how much time and effort goes into marketing a design practice and how central it becomes to building a sustainable business.
When you are deeply involved in delivering projects, marketing is very easily neglected. Yet it is what keeps the pipeline moving. Professional photography matters more than most new designers realise: if your work is not documented well, it simply does not exist online. The same applies to video. Capturing project progress gives potential clients a much clearer picture of what working with you looks like and that is valuable.
The honest reality is that running a design practice means wearing many hats. The design work is only part of it and the sooner you invest in presenting that work properly, the better.
Spend time working within an established design studio before setting out on your own. The skills and knowledge gained from being part of a design team, working on real projects with real clients, budgets and deadlines, are invaluable. No course fully prepares you for the pace and complexity of live projects. Hands-on experience builds a foundation that is very difficult to replicate any other way.
Beyond that, get the layout right before you think about anything else. Colour, materials and furnishings are all decisions that can be revisited; an incorrectly planned layout is far more difficult and costly to correct once a project is underway. I would encourage every aspiring designer to spend time studying spatial planning and to become genuinely comfortable with technical drawings. Good creative decisions start with a solid technical foundation. Clients who work with a designer who understands both the technical and aesthetic dimensions of a project get a far better result.
One shift I am already seeing is a move away from the perfectly curated, trend-driven interior towards spaces that feel personal, warm and genuinely lived in. With the rise of AI and social media, design trends spread quickly and spaces can start to look very similar as a result. Discerning homeowners are becoming more aware of this and are increasingly looking to create homes that have real character and personal meaning rather than simply reflecting what is popular at a given moment.
This is where the value of a personalised, relationship-led service becomes more important. A designer who takes the time to understand how a client actually lives and who is prepared to go deeper rather than take on more projects will produce results that are unique and personal. I think clients will continue to seek that kind of thoughtful collaboration.
On the technology side, smart home automation is becoming an expected part of high-end residential design rather than an optional extra and integrating those systems from the outset requires careful planning. Sustainability is also increasingly front of mind: more clients are asking questions about where materials come from and how products are made. I believe that will only grow as a priority in the years ahead.
It means being part of a professional body that holds the industry to a standard I believe in. Interior design is a field where expertise and accountability genuinely matter: clients are making significant financial and personal decisions based on a designer's advice. The SBID accreditation signals that I have met a recognised professional benchmark. For my clients, it provides an additional layer of confidence when choosing to work with me.
As an independent designer working directly with clients on every project, it can be easy to work in isolation. SBID accreditation connects me to a wider community of designers and gives me access to industry events, networking opportunities and continued professional development that I would not otherwise have as a sole practitioner. Those resources matter: staying connected to the industry, learning from other professionals and keeping my knowledge current all feed directly into the quality of work I deliver for my clients.
About Anita de Villiers Interior Design
Anita de Villiers runs a boutique interior design studio in Surrey, specialising in elegant, considered interiors for homeowners who value quality and personal connection. Providing a dedicated one-to-one experience, Anita personally manages every stage of the design journey. Her work is defined by a respect for architectural integrity and quiet luxury, creating layered spaces that remain timeless as trends evolve. Whether overseeing a full renovation or a single room, Anita guides her clients with a structured process that brings clarity to every decision. She creates sophisticated, functional homes designed around how you live.
Paula Morrison, Founder and Lead Interior Designer at Paula Morrison Interiors, has given her insights into the industry.
My journey into the world of interior design was an intentional evolution from analysing the structure of language to shaping the structure of the built environment. Although my academic foundations are in Literature and Linguistics, I have always been drawn to the technical and creative rigour of architecture. This unique background allows me to approach design through the lens of narrative and syntax; I view a floor plan as a composition where every spatial element must "communicate" clearly to achieve a sense of balance.
I founded Paula Morrison Interiors to bring this philosophy to life, focusing on high-end residential projects that demand both analytical thinking and artistic vision. My work is characterised by a deep interest with spatial planning and structural logic. I enjoy the challenge of deconstructing complex, often restricted layouts to find a sense of equilibrium and flow.
Today, as Lead Designer, I pride myself on being a hands-on collaborator who bridges the gap between the client’s vision and the contractor’s execution. By treating spatial design as a form of physical storytelling, I ensure that every home I touch is not only aesthetically refined but also structurally coherent and intuitively functional.
While my academic roots are in literature and linguistics, I have always harboured a deep-seated fascination for architecture and the built environment. Literature taught me about narrative structure and the human experience, but I eventually felt a pull toward expressing those concepts physically. Interior design became the perfect bridge between my analytical background and my creative aspirations. It allowed me to transition from storytelling on a page to storytelling within a three-dimensional space. This career path offered the opportunity to develop my creative side while applying the disciplined, structural thinking I honed during my university years. Ultimately, I chose interior design because it combines the intellectual rigor of spatial logic with the artistic freedom to shape how people live, work, and interact with their surroundings.
The most rewarding aspect of the profession for me is the initial phase of spatial planning and gaining a deep, structural understanding of a site. I find immense satisfaction in reviewing a floor plan to reveal its hidden potential and then reconfiguring it to optimize flow, light, and functionality. This "puzzle-solving" element of design - where ergonomics meets aesthetics - is where I feel most inspired. To me, a well-designed plan is the indispensable foundation of any successful renovation. I firmly believe that without great spatial planning, the final result can never truly succeed; no amount of luxury finishes or beautiful furniture can fix a space that doesn't function logically. Achieving that perfect equilibrium in a layout is the most satisfying part of my work, as it provides the robust, purposeful canvas required for the rest of the design to shine.
The highlight of my past year was successfully navigating a project involving a highly complex structure with extremely tight, restricted spaces. The challenge lay in maximising every square centimetre without compromising the structural integrity or the user's comfort. I spent a significant amount of time on-site, analysing the building’s skeleton to find opportunities for clever storage and improved circulation. By reconfiguring the internal partitions and introducing bespoke joinery, I transformed a rather cramped, fragmented layout into an open and functional space. Seeing the technical plans come to life in such a challenging footprint was incredibly rewarding. It reaffirmed my passion for the technical side of design and proved that even the most constrained spaces can be made to feel expansive and logical through precise spatial engineering.
I am most passionate about residential projects because they allow for a deep, personal impact on the way people experience their daily lives. In a home, every design decision - from the placement of a structural wall to the choice of lighting - has a direct effect on the inhabitants' well-being. I enjoy the process of tailoring a space to a family's specific needs, ensuring that the final result is as functional as it is beautiful. Residential design requires a unique balance of technical precision and empathy; you have to understand how someone moves through their morning routine or how they entertain guests. Solving the structural puzzles inherent in a renovation to make a house work better for its owners is, for me, the most fulfilling application of my skills as a designer.
One of the most challenging aspects of interior design is managing the intersection between creative vision and the practical realities of project execution. While the conceptual phase is exhilarating, translating those ideas into a functional reality involves navigating complex decisions, compromises and budgetary constraints. Maintaining the integrity of a design while making necessary adjustments during the technical installation requires constant vigilance and precise communication with artisans, lighting specialists, and clients. It is a delicate balancing act to ensure the final result remains true to the original aesthetic intent without sacrificing the ergonomics or longevity of the space. Additionally, staying abreast of rapidly evolving material technologies and sustainable sourcing standards demands continuous learning. Ultimately, overcoming these intricate hurdles - ensuring every custom detail and lighting circuit aligns perfectly with the overall vision - is what makes the successful completion of a project so rewarding.
Before entering the field, I wish I had a clearer understanding of just how much of the role involves technical documentation and project management. While the public often views interior design as a purely aesthetic pursuit, the reality is that a significant portion of our time is spent producing detailed technical drawings, specifications, and coordinating with various trades. I quickly learned that even the most beautiful concept cannot be realized without precise communication and rigorous attention to detail. I also realised the importance of "people skills"- the ability to interpret a client’s unspoken needs and manage their expectations throughout a stressful renovation process. Fortunately, my background in linguistics proved to be an unexpected asset here, helping me navigate the nuances of client communication and the structured logic required for documentation.
My primary tip for aspiring designers is to master the fundamentals of spatial planning and structural logic before focusing on the decorative elements. While colours, textures, and furniture are vital components of a beautiful interior, they cannot fix a poorly planned space. Spend time learning how to read architectural drawings and understand the flow of movement within a building. A design that functions perfectly will always feel more luxurious and successful than one that is simply "decorated." I would also encourage newcomers to remain curious and interdisciplinary; don't be afraid to draw inspiration from fields outside of design, whether that’s literature, science, or psychology. Having a diverse range of interests will give your work a unique depth and a stronger narrative voice.
The integration of AI is fascinating and will undoubtedly streamline our administrative and rendering processes, but I believe the year ahead will emphasise that technology can never replace the human touch. Design is inherently contextual and physical; an algorithm cannot truly understand the unique "feel" of a site or the specific nuances of a client’s lifestyle. Real-world expertise remains essential for on-site problem-solving, such as assisting contractors with structural anomalies or the precise positioning of architectural lighting to enhance a room's atmosphere. I see the industry evolving to use AI as a powerful assistant, while the designer’s primary value remains their ability to synthesise technical knowledge, emotional intelligence, and on-site management to deliver a project that works in the real world.
To me, being an SBID Accredited Interior Designer represents a privilege and commitment to the highest standards of professional conduct and technical excellence. In an industry that is often misunderstood, this accreditation serves as a hallmark of quality and integrity, providing clients with the assurance that they are working with a qualified professional who adheres to a strict code of ethics. It signifies that my work is grounded in formal training and a dedication to continuous professional development. Beyond the individual benefits, being part of the SBID community offers a platform for collaboration and knowledge-sharing with like-minded peers globally. It reinforces the idea that interior design is a serious, multifaceted discipline that requires a balance of creative vision and technical rigor, validating my journey into this profession.
About Paula Morrison Interiors
Based in Surrey, Paula Morrison Interiors is a premier residential design studio dedicated to crafting elegant, timeless spaces. Specialising in high-end full house renovations and bespoke styling, the studio seamlessly blends classic charm with modern sophistication. Paula’s signature aesthetic focuses on refined palettes, rich textures, and functional luxury, ensuring every home feels entirely unique and personal yet remains impeccably polished. From conceptual planning to final installation, the studio provides a comprehensive service tailored to each client’s lifestyle. Whether transforming a period property or a contemporary residence, we deliver sophisticated, exceptional interiors that exude warmth and character across London and Surrey.
Amy Dhala, Co-Founder of Decorbuddi, has given her insights into the industry.
My career has taken an interesting route into the world of design, beginning in the luxury travel industry where I spent nearly a decade at Scott Dunn working my way from a travel consultant to Head of Worldwide Sales. During that time, I worked with international clients creating highly tailored experiences across the world, which gave me a deep understanding of luxury, service and the importance of detail.
That appreciation for lifestyle and place naturally evolved into interiors, and in 2011 I founded Lovestruck Interiors, designing and sourcing distinctive pieces while developing a creative studio in Southwest London.
In 2019 I co-founded Decorbuddi, where our work ranges from considered room transformations to full home redesigns and complex renovation projects for clients in the UK and Overseas.
For me, the attraction to the interior design industry came from seeing just how powerful design can be in shaping the way people experience their homes. A well-designed space isn’t just about aesthetics, it can genuinely change how people live day to day, whether that’s creating calm, improving functionality or making a home feel more welcoming.
Every designer brings their own experiences, influences and creative instincts to the table. Those different perspectives are part of what makes the design industry so dynamic and continually evolving. At Decorbuddi, we value that diversity while working together as one collaborative team.
Without question, the most rewarding aspect is seeing the work our designers produce and the impact it has on clients. Interior design is such a collaborative profession - it requires creativity, technical understanding, empathy and strong relationships with clients and suppliers.
I love seeing how our designers take a client brief and transform it into something far beyond what the client initially imagined. Watching that process unfold, from early ideas and mood boards through to a finished space, is incredibly exciting. What makes it even more rewarding is hearing how those spaces improve people’s lives, whether it’s a family home that works better for everyday life or a renovation that finally brings someone’s vision to life.
We have had the opportunity to work on several fantastic home and garden projects this year with clients based all over the world, including Hong Kong, South Africa and even Nepal, as well as the UK. It is impossible to choose just one highlight – it is the variety of projects and clients that inspires our creativity.
Alongside these projects, there have been some wonderful milestones - from winning the Best of Houzz Design Award to having our work featured in The Times Magazine and other industry publications.
Joining SBID has also been a particularly meaningful moment for us. It reflects our commitment to professionalism and high standards within the industry, but more importantly it recognises the calibre of designers we work with. Being part of a respected professional body that champions quality and integrity in design is something we’re incredibly proud of, and it’s exciting for our team to be part of that community.
The projects we enjoy most are those where we work in true partnership with the client to shape the complete transformation of a home. These are often the projects where there are complex design challenges to resolve and where the brief goes far beyond decoration, considering how a home flows, functions and supports the way people live.
We are particularly drawn to projects that allow us to think about the relationship between inside and out - where the architecture, interiors and garden are connected. It’s also a joy to work with clients who have gathered treasured pieces or an interesting art collection we can weave into the design.
Ultimately, the most rewarding projects are those where there is trust and collaboration, allowing us to create spaces that are genuinely loved by the people who live in them.
Interior design can look effortless from the outside, but in reality, it requires an enormous amount of coordination, problem solving, technical skills and attention to detail. Designers are often balancing creative vision with practical constraints such as budgets, timelines, construction issues and supplier lead times.
Another challenge is managing expectations, particularly during renovations where unexpected issues can arise. Our designers must be incredibly adaptable and calm under pressure, while still maintaining the creative direction of the project. It’s a profession that requires both artistic talent, organisation and inter-personal skills - something people often underestimate until they see the process behind the scenes.
One thing that has become very clear is just how complex the design process really is. From space planning and technical drawings through to sourcing, procurement and installation, there are many moving parts behind every finished interior.
I think people sometimes imagine interior design as simply choosing colours and furniture, but the reality is that designers are solving spatial challenges, coordinating with contractors and ensuring every detail works both practically and aesthetically. Seeing that depth of expertise has given me a huge appreciation for the profession and the level of skill required to deliver truly great design.
My biggest advice would be to stay curious and keep developing your perspective. The most successful designers are constantly observing, learning and drawing inspiration from many different places - architecture, travel, art, hospitality spaces and even nature.
Equally important is building strong relationships with clients and collaborators. Interior design is ultimately about understanding how people live and translating that into spaces that work beautifully for them. Creativity is essential, but empathy and communication are just as important in building trust and delivering successful projects.
I think it’s a very interesting moment for the industry, particularly with the rapid development of new technologies. Tools for visualisation, digital collaboration and AI are becoming much more sophisticated and are changing how designers communicate ideas and manage projects.
Where I see the real value is in how these tools improve efficiency and communication. They allow designers to present concepts more clearly, test ideas quickly and help clients visualise spaces earlier in the process. AI can be particularly helpful in supporting workflows, organising information and facilitating the communication of design ideas.
That said, I don’t believe technology should replace the creative thinking of the designer. Interior design is fundamentally about understanding people, how they live and creating spaces with depth, personality and longevity. Those things come from human experience, judgement and creativity.
So, for me, the future of the industry is about using technology thoughtfully as a tool to support designers and improve the client experience while keeping the design process itself rooted in human creativity and expertise.
Being part of SBID is a meaningful step because it represents professionalism, credibility and a commitment to high standards within the design industry. For us, it’s important that the designers we work with are recognised as professionals who bring real expertise and value to their clients.
SBID accreditation helps reinforce that message - that interior design is a skilled profession requiring knowledge, experience and ethical practice. We’re proud for our community of designers to be associated with an organisation that champions excellence and supports the continued growth and recognition of the industry.
About Decorbuddi
Decorbuddi creates thoughtful, original design that transforms the quality of everyday life. Blending expertise with a warm, flexible approach, we tailor each project to our clients’ individual needs - from focused design consultations to complete interior and garden renovations. With a London based central studio, regionally based designer team and a trusted network of skilled trades, we deliver carefully managed turnkey projects across the UK and internationally, ensuring every element works together seamlessly.
Lindi Reynolds, Founding Creative Director at Lindi Reynolds & Co, has given her insights into the industry.
With a formal training in Fine Art and Architecture, my practice as an Architectural Interior Designer has become my life's passion. I believe that the art of great Interior Design is to weave the functional and aesthetic aspects of a home together expertly, so that the final vision is transportive on first inception and supportive through the living of it.
Having set Lindi Reynolds & Co up 20 years ago, we are well established, with a broad base of brilliant supply partners, to help deliver our projects. Together we are passionate about creating living spaces into places that our clients can feel great in.
Having built up a specialism for delivering Architectural Interior Design, Project Management, Supply and Fit of all interior aspects for Character Properties and New Build Homes, alike. Our projects tend to be all encompassing, working on residential properties in their entirety with consideration given to all touchpoints of the Interior Design mix and finishing to the highest standard. To support this, we have a highly evolved offering for delivering bespoke furniture and cabinet making. Specifically, we have a specialist bespoke kitchen and bespoke bathroom delivery capability. Add to this ‘Goldfinches’, our legacy furniture offering, whereby we have the capacity to design and make one-of-a-kind furniture pieces to be loved by our client families and their future generations.
With a deep knowledge and appreciation for historical architectural vernaculars, and as a result have been especially privileged to work across a broad plethora of architectural vernaculars. We have an excellent track record in restoration and sympathetic enhancement of Historical residences.
As we are an Architectural Interiors practice, we are often appointed to work on and submit planning application preparations and submissions. Alongside this, we have the expertise to deal with Grade I and Grade II listed buildings.
Before setting up Lindi Reynolds & Co., I was a director for the global communications giant, Fitch Communications. There I headed up a large team of Designers and Project Managers to deliver communication solutions for some of the world’s biggest and most luxurious brands. My career has been focused on delivering visual solutions of the highest calibre. I am truly passionate about design and clarity of execution resulting in the delivery of meaningful response.
I hold a Bachelor of Arts in Fine Arts, and I am a proud member of the Society of British and International Interior Design.
A creative at heart, I have always been curious about understanding the mix of elements that are required to create exquisite spaces. I believe that our work as Interior Designers can drive positive living experience change. I like to think that through our projects we deliver enduring solutions, creating the ultimate platforms on which our clients can live out their best lives.
Impossible to say, I truly love it all. I love the complex nature of it, that it is many stranded, and as with an orchestra the success of a scheme can never be attributed to a singular element, so it’s important to love it all. As an Interior Designer, I envisage my role as a conductor of a great orchestra; weaving together masterpiece’s from many varied and diverse elements.
Pushed for an answer I could funnel it down to two things: - People - our business is about understanding and working with people all day, every day – client’s, supplier’s and colleague’s. I am naturally sociable and love this aspect of the role. - Detail - I thrive on detail, and this is how we create beauty by getting the detail right. There is a high level of crafting involved with this too, which requires working closely with our suppliers; and so we come back to people once more!
Reimagining the Victorian staircase in a recent Surrey home renovation.
When our client expressed an openness to replacing the existing staircase, it set the stage for a design revolution. Without altering the home’s footprint, we transformed its sense of light, space, and connectivity purely through re-designing the staircase. Every level of the home now feels effortlessly linked, bathed in natural light, and rooted in a more intuitive flow.
The new staircase is a bold yet sensitive statement — a radical reinvention that still honours the original Victorian vernacular. Behind its graceful form lies a core of innovative engineering: an internal steel structure that allows the staircase to stand independently from the surrounding walls. This freedom to “take leave” of the house’s structure opened up the space between the first and second landings, creating a central feature that can now be admired from all three floors.
What was once a purely functional element has become a showpiece. The staircase now commands attention as the sculptural centrepiece of the home, seamlessly combining artistry with precision engineering. It elevates not only the aesthetic value of the property but the very experience of living within it.
We work on period property renovations and new builds alike. If pushed, I think I would have to say that my heart beats a little faster with the prospect of a character property renovation. We have been fortunate to work across a broad range of vernaculars from Victorian, Edwardian, Georgian, Regency, Tudor and Art Deco.
Working on period properties is exhilarating, because you don’t always know what you are working with until you start to peel away the layers. I feel that our period property renovations benefit the most from our passion for Architectural Interior Design. We have a great track record now of working with tired character properties, and bringing them up to date sympathetically so that they are fit to serve for modern day living.
For a long time, it was figuring out how to run and build a business. How to find a way of costing that was truly reflective of the value we drive for our clients. We have very good systems now and have developed ways of working that mean we are building a very exciting business, but that took time and whilst there are guides for tapping into most of it you have to figure out for yourself.
Perhaps the most challenging remaining aspect is related to being a woman in a male dominated industry. In the early days, if I established on a project that I was simply not being heard on the building site, I would call my husband in to have a conversation. This was always a last resort for me of course; he would deliver the same information that I had, but the difference is that he was instantly heard and was able to bring about the shift that I had been after almost instantly. Simply galling, but at least we got ahead quicker that way because we had identified the problem. Now that we are more established, it’s not as much of a problem, but it’s still a lot more prevalent than it should be. We do not go to site to spoon feed or play a secretarial role – we are on site to drive value for our clients by ensuring the best outcomes and ensuring that our briefs are being correctly interpreted. We respect all the contractors, sub-contractors and artisans that we appoint to our projects and in return we expect to be respected too. It’s a two-way process when it’s working properly. Once, I had to explain to a sub-contractor that we don’t pay for abusive language, and so we agreed that he would remove 30 minutes from his time sheet that day. I can laugh about that now, but it was tough, and that’s how it can be. I have made a point of working with people who are proud of their craft, and whom I am happy to place in our clients’ homes. Our little black book is pretty solid now – we don’t have any suppliers that we don’t respect, and we look forward to seeing on our sites.
I wish I had known that society does not know how to value Interior Designer’s time, and so it is my responsibility to make it clear from the get go. People would never dream of getting advice from a solicitor or advisor of just about any other sort, for free. Somehow Interior Design falls very low on the evolutionary scale of pay for what you get.
I know, now, to value my studios time and check out a project and a potential new client before I invest in talking to them. Once we were engaged in a ‘pitch’ which when I called the client to agree the date and time for the agreed presentation (having been invited and having done a solid chunk of the work) he duly informed me that he had appointed another interior designer and there was no longer a need for our meeting. The whole point of a pitch is that you assess the designs against one another once they have all been presented. I should have been suspicious when the pitch process had not been clearly mapped out. My 8-year-old son was furious – he had seen me burn the midnight oil and demanded that I send in a bill for my time. He was absolutely right.
We don’t undertake free design, and I don’t even visit potential project sites without agreeing a fee. This way we know that the potential client is serious and that our efforts valued. We start as we mean to go on.
In any market, but especially in a highly competitive market, it’s important that you know your USP? Once you know what that is find a way of communicating it, talk about it and celebrate it every opportunity you get. Find your voice, practice it and draw energy from it! Good luck – it’s a beautiful industry, and I hope you can find a space to revel in the joy of it.
Authenticity has never been more important. AI represents both an opportunity and threat, and so I truly hope that as an industry we will embrace it to drive authenticity. To serve our design community with humanity at its centre – this would be good for both our industry and our clients on the receiving end.
The opportunities that I see it presenting are that we can produce better outcomes if we use it masterfully. It becomes a threat if used as a short cut, because then it’s in control and making the decisions, which can on the surface appear aligned to our intention, but on closer inspection can be subtly different, so it’s important to see it as a resource that requires close scrutiny. Scrutiny takes time, but it is essential because shifts are subtle and eroding if not corrected. We must ask ourselves what kind of reality we hope to create for our clients. I know we want to create homes that are good for the human condition; this is our great responsibility, and I am honoured to serve in this way.
This is intricately bound up with finding ways of protecting our precious environment by reducing our carbon footprint steadily, one project at a time. These two topics, AI and sustainability need to be at the centre of our industry conversations so that we can find best path practice that serves our industry and our clients well.
I am simply thrilled – it means a great deal to me to be part of this highly regarded industry network, because I truly believe in the power of collaboration and can see the multiple benefits of coming together to share ideas and practices.
At Lindi Reynolds & Co we will be celebrating 20 years in business this year, and I am looking forward to contributing wherever I can with the knowledge that I have built up over the years. I am also looking forward to the support network that will come with being an accredited designer of the SBID.
About Lindi Reynolds & Co
At Lindi Reynolds & Co, we are deeply committed to the craft of architectural interior design. Our award-winning studio creates uniquely personal interiors to the highest standards, reflecting each client’s personality and life vision. From London character properties to Surrey estates, we partner with discerning clients who value timeless sophistication, exceptional craftsmanship and truly bespoke design.
Nilfah Adams, Founder & Creative Director of Nilfah Adams, has given her insights into the industry.
My career began in interior design over a decade ago, rooted in a deep curiosity about how environments shape emotion, behaviour, and identity. I trained formally in interiors and built early experience within retail, hospitality, and residential projects, which sharpened my understanding of craftsmanship, materiality, and spatial flow. Over time, my work expanded internationally, across Africa, Europe and the UK, where cultural context became a central influence on my design language.
Alongside practice, I pursued advanced studies in fashion art direction and luxury brand strategy and business, enabling me to bridge interiors with storytelling, brand thinking, and experiential design. Today, through a spatial storytelling approach, I work across high-end residential projects and luxury lifestyle concepts. Crafting environments and experiences that are considered, emotionally resonant, and culturally grounded rather than trend-driven.
Interior design feels less like a career I chose and more like one that found me. Growing up, I was surrounded by both creativity and an appreciation for the built environment, an influence shaped strongly by my parents. From an early age, I felt an instinctive need to make things beautiful, but also to understand how beauty could serve a purpose in the way we live, feel, and find comfort in our everyday environments.
I became fascinated by the psychology of space - how light, texture, proportion, and even silence shape mood, memory, and behaviour. Rather than viewing interiors as decoration, I saw them as a form of lived storytelling, where intangible ideas such as belonging, grounding, and ritual could be translated into physical form. Creating spaces that quietly support human experience, rather than demand attention, continues to anchor my commitment to the profession.
The conceptual phase, where a project is defined before form emerges. This is the moment where spatial intent, identity, and narrative are established, and where design decisions gain coherence and authority. Interpreting a client’s way of living, values, and rhythms, then translating those insights into spatial structure, proportion, and atmosphere, is where the work becomes most rigorous and meaningful.
I am equally invested in the material and technical resolution of a space. Working closely with materials, artisans, and construction details allows a project to develop depth and longevity. I am drawn to creating interiors that are composed rather than styled. Spaces that feel anchored, precise, and enduring. The continual negotiation between concept and execution, intuition and discipline, creative vision and strategic thinking, is what sustains my engagement with the profession.
This past year has been defined less by a single project and more by a shift in clarity. Completing advanced postgraduate studies alongside practice allowed me to articulate my philosophy of spatial storytelling with greater precision. Seeing my work positioned not only as design, but as cultural and strategic thinking, has been a meaningful milestone.
A particularly memorable moment was the special feature of a penthouse project in Cape Town, in the House & Leisure magazine in South Africa. The project offered a culturally rich and considered response to its context, drawing colour, rhythm, and narrative directly from the views beyond the windows and the heritage of the Cape Malay Quarter. Interior and exterior were treated as a continuous dialogue, allowing place and culture to inform the spatial experience rather than simply frame it.
I am most drawn to residential and lifestyle projects where there is room for narrative and nuance. Homes, retreats, and concept-led environments allow for a deeper exploration of rhythm, ritual, and atmosphere. These projects invite a slower design process; one that honours material integrity and emotional flow.
I am particularly inspired by projects that engage with place, whether through cultural references, landscape, or craft. When a space reflects where it belongs, and who it is for, it gains authenticity. That sense of rootedness is what I aim to cultivate in every project.
One of the greatest challenges in interior design is maintaining creative integrity while navigating external constraints; budgets, timelines, and the realities of the construction process. The depth required to resolve a project properly often demands more time and attention than the industry typically allows, making it essential to balance rigor with efficiency without compromising the quality of the outcome.
Another ongoing challenge is education. There is still a need to reframe perceptions of luxury; away from immediate visual impact and toward longevity, thoughtfulness, and emotional value. Articulating this perspective requires clarity, conviction, and trust, all of which are critical to sustaining a refined and principled design practice.
I wish I had understood earlier that interior design is about far more than making spaces look beautiful. A significant part of the profession lies in communication, boundaries, and emotional intelligence. Design skill alone is not enough; much of the outcome depends on external collaborators, contractors, and specialists responsible for implementation.
This reliance on others is often where design integrity can falter. Having the right team in place and knowing how to manage, communicate, and protect the original intent is essential. Learning to articulate value, manage expectations, and safeguard creative vision throughout the build process is critical to delivering work that remains true to its concept.
I also wish I had known that it is acceptable and often necessary to say no. Not every project aligns with your values or direction. Learning to choose alignment over volume has been one of the most important lessons in shaping a sustainable and fulfilling career.
Develop a clear point of view before chasing visibility. In an oversaturated industry, what ultimately sets you apart is who you are - how you see the world, what you value, and the perspective you bring to your work. Trends will come and go, but a defined design philosophy creates longevity and relevance.
Mastery also requires patience. Understanding materials, people, process, and yourself takes time, and that evolution cannot be rushed. Allow your work to mature organically rather than forcing definition too early. Depth, authorship, and self-awareness are what build credibility and lasting impact.
I see a growing shift toward emotional sustainability, spaces designed to support well-being, identity, and longevity rather than constant renewal. Clients are becoming more discerning, valuing meaning, craftsmanship, and narrative over excess.
There is also an increasing crossover between interiors, fashion, art, and brand experience. Designers are expected to think holistically, considering how spaces communicate values and cultural relevance. This evolution favours designers who can blend creativity with strategic thinking and cultural awareness.
SBID accreditation represents professional integrity and accountability within an industry that is often visually driven but inconsistently regulated. To me, it signals a commitment to ethical practice, continual learning, and design excellence grounded in professionalism rather than aesthetics alone.
It also reinforces trust between designer and client, creativity and structure. Being aligned with SBID reflects my belief that meaningful design is not only about vision, but about responsibility, rigour, and long-term value.
About Nilfah Adams
Nilfah Adams is a spatial storyteller crafting immersive, emotionally intelligent environments where luxury, culture, and narrative converge. Her practice goes beyond aesthetics, exploring how space holds memory, shapes feeling, and supports identity. With a background spanning interiors, luxury hospitality, fashion art direction, and brand strategy, she approaches each project as a world-building exercise—layering form, texture, and meaning with conceptual clarity. Every commission begins with a singular question: What do you want to become? The answer guides a collaborative process that transforms spaces into lived experiences—refined, culturally resonant, and deeply personal. Designed with intention. Experienced with presence.
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