Denisa Popovici, Founder & Interior Designer at NISI MAISON, has given her insights into the industry.
I am the founder and interior designer behind Nisi Maison, a London-based studio creating refined, characterful interiors with a strong sense of place and individuality.
I grew up in a family of creative people, which led me to study interior design in the UK. Over the past eight years, I have worked as an interior designer with leading names in luxury interiors, including Ethan Allen, Bernhardt, Caracole and Harrods, gaining a deep understanding of quality, craftsmanship and the care discerning clients expect.
My approach is rooted in understanding how people want to live and translating that into spaces that feel considered, harmonious and personal. I am particularly drawn to the relationship between architecture, proportion, materiality and detail. I work closely with clients, makers and suppliers to create interiors that balance beauty with functionality and stay relevant for many years, rather than being tied to a particular trend.
I grew up in a family of creative people, so making things was always part of everyday life. One of my strongest memories is watching my dad build our family home. I saw it come together room by room, and I remember how much thought went into every decision, from where the light would come in to where we would all sit together in the evenings.
I didn't realise it then, but that was my first lesson in interior design. A home isn't just about how it looks. It's about how it makes you feel and how it supports the way you live. That idea has stayed with me, and it's still the reason I do this work today.
The very beginning of a project is very special to me, when I'm getting to know a client and their space. Those first conversations tell me so much: how they live, what they love, and what isn't working for them at that moment. That's when the ideas start to flow.
I also enjoy the details very much, probably more than most people would expect. How a piece of joinery meets a wall, how a lamp lights a corner in the evening, how a stone feels under your hand. Nobody notices these things one by one, but together they are what makes a space feel right. And nothing beats the moment a client walks into their finished home and it feels completely theirs.
My biggest highlight this year has been watching Nisi Maison grow into its own. When you start your own studio, there comes a moment when you stop wondering whether it will work and start seeing it take shape, and this year I felt that.
I've been lucky to work on projects where I could take care of everything, from the first sketches through to bespoke pieces, furniture and the final styling. Seeing something that once existed only in drawings, samples and long conversations become a real home still feels a little magical to me, especially when a client trusts you completely. That trust is something I never take for granted.
Homes, without a doubt. Maybe it goes back to watching my dad build ours, but I feel most in my element designing spaces where people actually live, raise families and make memories.
I'm especially drawn to properties with character, where the building has its own history and the job is to work with the architecture rather than fight it. I also love being involved with the whole interior rather than only one room at a time. When the layout, materials, lighting, joinery and furniture are all considered together, the home feels calm and connected. For me, the best compliment is when a space feels beautiful but also completely natural to live in.
The hardest part is balancing ambition with reality. Every project starts with big ideas, and then budgets, timelines, contractors and lead times all have their say. Changing one thing can affect all five others.
My job is to protect what makes the design special while also staying flexible, and that takes a lot of clear communication and, sometimes, difficult conversations. There is also real pressure today for everything to happen quickly. But good design needs time to be tested and refined, and part of my role is gently reminding clients that the best decisions are rarely the rushed ones.
I wish someone had told me how much of this job happens away from the mood boards. When I started, I imagined days spent choosing fabrics and sketching ideas. In reality, a huge part of it is project management, budgets, emails, site visits, chasing deliveries and solving problems nobody saw coming.
I've come to love that side of it too, because it's what turns ideas into real spaces. I've also learned that confidence doesn't mean always having an instant answer. Some of my best decisions came from saying "let me think about that" and taking the time to get it right.
Trust your own eye, and keep training it. With Instagram and Pinterest, it's very easy to end up designing what everyone else is designing.
Instead of just saving images, ask yourself why something works. Is it the proportions, the light, the materials or the craftsmanship? Visit buildings, hotels, galleries and markets in person, touch things, and notice how spaces make you feel. I learned so much growing up around creative people and watching them make things with their hands. Over time, all of that becomes your own point of view, and that's what clients will come to you for.
I think people are slowing down a little. Clients are thinking more about how long things will last and less about following trends. They want homes that feel personal and tell their own story, not something copied from a feed.
I'm seeing much more love for natural materials, craftsmanship, vintage pieces and buying fewer, better things. Technology and AI will keep changing how we visualise and develop designs, and that's exciting. But I don't think it will ever replace the human side: sitting with a client, understanding how they live and sensing what a space needs. That part will always be personal.
For me, it's a mark of trust. When someone invites you to design their home, they're trusting you with something very personal: their budget, their time and the place where their life happens. That's a big responsibility.
Being SBID accredited shows clients that behind the creative side there are proper professional standards, good practice and a commitment to keep learning. As a growing studio, that means a lot to me. It's a reminder of the kind of designer I want to be and the standard I want Nisi Maison to be known for.
About Nisi Maison
Nisi Maison is a luxury interior design studio based in London, founded by designer Denisa Popovici. The studio creates refined, personal interiors for private homes and selected commercial spaces, balancing timeless elegance with comfort and practicality. Every project begins with listening to how clients live and what they love, then shaping spaces through thoughtful layouts, bespoke joinery, considered lighting and a curated palette of materials, finishes and furniture. Working closely with trusted craftspeople and European suppliers, Nisi Maison guides each project from concept through to procurement, installation and styling, delivering crafted spaces that feel calm, characterful and made to last.
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Enjy Fouad, Founder & Principal Designer at Envious Design, has given her insights into the industry.
Enjy Fouad is the Founder and Principal Designer of Envious Design, a Vancouver-based residential interiors studio established in 2009. With a Bachelor of Business Administration and formal education in interior design, she brings both design and business experience to her practice. Envious Design began in home staging and property styling and has since evolved into custom residential interiors, including new builds, renovations and fully managed turnkey furnishing and move-in projects.
Growing up in Cairo, surrounded by textiles, furniture, architecture and a culture of working directly with artisans, shaped Enjy’s appreciation for craftsmanship. Her travels throughout Europe and life in Vancouver have further shaped her design perspective, grounded in proportion, materiality and natural surroundings.
My earliest connection to design came from growing up around furniture and objects that carried history. My mother collected antiques, often finding pieces at auctions, and I was fascinated by the stories behind them and by the materials, details and craftsmanship that gave each piece its character. Growing up amid Cairo’s bustling streets deepened that fascination, as the old and the new came together through the city’s architecture, textiles and interiors with prominent European influence.
We also had access to skilled artisans, and it was possible to approach them with an idea for a piece of furniture and have it made. That freedom made creativity feel tangible and showed me the possibilities of having something individual made rather than choosing what was readily available. Together, these influences nurtured my passion for design and architecture. Interior design allowed me to bring that lifelong interest into my work, creating homes with character that reflect the people who live in them.
What I enjoy most is understanding how people live and translating that into an interior that feels connected to them. I begin by listening and then looking closely at the home’s architecture, proportions, light and natural surroundings. I let these elements guide the direction rather than imposing a style that does not belong. I also love sourcing and developing pieces with character. I have had the opportunity to work with European artists and furniture designers whose work is shaped by natural materials, specialised techniques and a strong creative story. That experience has deepened the way I approach furnishings within my interiors. Whether selecting natural stone, developing custom millwork or modifying the fabric, colour or finish of a piece, I enjoy creating relationships between elements so the final home feels refined, layered and deeply personal.
The most meaningful career highlight of the past year was completing my Diploma in Interior Design and becoming an SBID Accredited Interior Designer. I founded Envious Design in 2009 and have built my experience through many years of working directly with homeowners, builders and trades. Returning to formal study allowed me to deepen the technical knowledge behind that experience and look at my work from a renewed perspective.
Receiving SBID accreditation felt like an important recognition of both that professional journey and the standards I want Envious Design to represent. It was not the beginning of a new career, but a significant step forward in one I have been building for more than a decade. Together, the diploma and accreditation have given me a stronger foundation for the next stage of the studio and the projects ahead.
I am most drawn to custom residential projects where I can develop a clear direction for the home as a whole. New builds and substantial renovations are especially rewarding because they allow the planning, materials, lighting, millwork and furnishings to relate to one another from the beginning. It is that thoughtful relationship between material, function and story that gives a home depth and connects each decision to the whole. I also enjoy fully managed turnkey furnishing and move-in projects, particularly for executives, families relocating to Vancouver or clients preparing a second residence.
These projects allow me to consider the complete experience of living in the home. I love creating interiors that respond to the architecture and natural surroundings while reflecting the clients’ character, collections, and way of life.
One of the most challenging aspects is protecting the clarity of the original design through a process that involves many people, decisions and practical constraints. A change to the floor plan can affect the lighting, millwork and furniture, while a material substitution can alter the balance of an entire room. Good design depends on maintaining the relationship between all of those elements while responding to budgets, construction realities, lead times and the unexpected issues that arise.
There is also a great deal of responsibility in guiding clients through decisions they may live with for many years. It requires patience, clear communication and the confidence to explain when a choice may not support the larger vision. The challenge is not simply to produce a beautiful idea but to carry its intention through every stage until the home is finished.
I wish I had understood earlier that confidence in this profession is built gradually. It comes from making decisions, solving problems on site, learning from craftspeople and seeing how materials and details perform in real homes. Hands-on experience develops a different kind of judgement that cannot be rushed.
I also learned that not every idea needs to follow what is current. Trends can be useful indicators of how people are living, but they should not determine the identity of a home. The strongest work comes from understanding the architecture, listening closely to the client and knowing when to edit. Over time, you become more comfortable trusting that process and allowing a project to develop with clarity rather than trying to prove too much in every room.
Learn to look beyond the finished photograph. A beautiful image can attract your attention, but a designer needs to understand why the room works: its proportions, circulation, lighting, material transitions and relationship to the architecture. Train your eye to recognise strong design while developing your own judgement.
Be curious about how things are made and take the time to learn from contractors, fabricators and craftspeople. Understanding the process behind a material or object will make you a more thoughtful designer. Listen carefully to your clients without losing the ability to guide them. Most importantly, do not rush to imitate what is popular or force a signature style. A genuine point of view develops over time through experience, observation and consistency. The goal is not for every project to look the same, but for each one to carry the same level of thought and intention.
I believe the industry will continue moving away from interiors designed around short-lived trends and towards homes with greater individuality, permanence and connection to their surroundings. After years of too much, too fast, clients are seeking a slower, more considered way of living and homes that bring greater ease and support well-being. This is creating a deeper appreciation for natural materials, craftsmanship, vintage and collected pieces, and furnishings that can be kept rather than quickly replaced.
Technology and artificial intelligence will continue to influence how designers research, visualise and communicate ideas, but they cannot replace discernment, experience or the trust between designer and client. I believe luxury will increasingly be defined less by excess and more by quality, provenance and how well a home supports daily life. The designer’s role will remain deeply human: listening, interpreting and creating something specific to the people who live there.
Becoming an SBID Accredited Interior Designer has meant having my experience, education and commitment to professional standards recognised within an international professional community. Having founded Envious Design more than sixteen years ago, I found that acknowledgement especially meaningful.
It also reflects the level of responsibility that comes with designing people’s homes. Clients place considerable trust in a designer, both in the creative direction and in the decisions, coordination and guidance required throughout a project. SBID accreditation reinforces my commitment to approaching that responsibility with integrity, professionalism and continued learning. For Envious Design, it marks an important stage in the studio’s growth and reinforces the values that have always guided the work: close attention, creative focus and a highly tailored level of service, with every interior developed with intention.
About Envious Design
Envious Design believes each home should tell a story reflecting how its owners live and entertain. Our design philosophy is rooted in proportion, materiality, and shaped by the home’s character, and natural surroundings. The studio’s material language is expressed through bespoke details, rich tactile textures, natural stone, and curated furnishings, layered with intention to create a timeless aesthetic. A signature of Envious Design is our fully managed turnkey furnishing and move-in service for executives and families. Every element is considered from creative direction, and material selections to design management, and final styling. The result is a home that feels refined, collected and deeply personal.
Natalie Fry, Founder & Creative Director at Grid Thirteen Design Studio, has given her insights into the industry.
I’ve been fortunate to build a career exploring the relationship between furniture, architecture and the way we live within a space. My training in interior architecture and design laid the foundation for that, but much of my understanding has come through experience - working alongside some of the UK’s leading designers and architects, learning from the people around me and developing a particular depth of knowledge in furniture design.
As my career developed, I later went on to lead design studios for a number of companies, including those working with both SieMatic and Poggenpohl, with responsibility extending beyond the design teams into the technical and installation side of the business.
That combination of training and practical experience gave me a strong grounding in furniture, architecture and spatial planning, but perhaps more importantly, taught me that a strong concept is only part of the process. The real skill lies in carrying that design intent through the technical detail and into the finished space.
In 2013, I reached a point where I wanted to create a studio that reflected my own approach to design, and I founded Grid Thirteen. At the time, the youngest of our five children was just three, so it was a significant decision both professionally and personally. It was a busy chapter of family life, but it also felt like the right point in my career to build something of my own and establish the kind of design practice I wanted Grid Thirteen to become.
Grid Thirteen initially specialised in kitchen design, but as the studio has grown, that expertise has evolved into furniture design throughout the home - from kitchens and living spaces to bedrooms, dressing rooms, bars and other interior spaces. Furniture remains at the heart of what we do, with materiality and spatial planning helping to shape the spaces around it.
Today, we are an independent Yorkshire design studio with a growing team and our own handmade furniture offering alongside SieMatic. That combination gives us greater freedom in the way we approach furniture and interiors, allowing us to create highly personalised spaces with a design language that responds naturally to both the individual and the architecture.
I’ve always been fascinated by the relationship between people and space - why we respond instinctively to certain environments and how the spaces around us can influence the way we feel and live.
The more experience I gained, the more interested I became in the human side of design. Beautiful spaces matter of course, but understanding why somebody feels comfortable in one environment and not another, or why the same space might work completely differently for two people, is far more interesting to me.
That is probably what has kept me engaged with design for so long, there is always something more to understand - about people, materials, craftsmanship or the way we experience space. Experience gives you confidence in your judgement, but I don’t think it should ever stop you questioning, learning or being open to another perspective.
The people, no two clients live in quite the same way, and that is what continues to make residential design so interesting to me.
The early design process is as much about listening and observing as it is developing the design. I enjoy understanding the routines and small details of everyday life that can easily be overlooked - where the keys are put down, where the school bags end up, how a family moves through the house and what happens when everybody arrives home at once, those details tell us a great deal about what somebody really needs from their space.
For me, that is where our work goes beyond aesthetic preference and becomes about understanding the individual, how they live and how they want to feel in their home.
Our ‘The Architecture of Luxury’ project has undoubtedly been a highlight. The project won ‘Best Luxury Kitchen Design’ at the 2026 Designerati North Awards and has subsequently been shortlisted in the forthcoming national Designerati Awards and SBID Awards. It’s great to see the recognition this project has had in titles such as The Times, Yorkshire Life and The Yorkshire Post.
Alongside the recognition for our work, one of the things I’m most proud of is seeing the team develop, a number of our designers joined Grid Thirteen as graduates, and watching them grow in confidence, develop their own style and become accomplished designers in their own right has been incredibly rewarding.
My role is to give the team the technical grounding, support and confidence to trust their own judgement, seeing their individual design identities emerge, and watching that confidence grow, has been a real highlight for me.
I’m drawn to projects where we have the freedom to explore ideas and create something genuinely individual, I’ve never been particularly excited by designing to a rigid formula.
I enjoy the unexpected - contemporary alongside traditional, precision alongside craft, quiet architectural elements with something more expressive. Our blended concept is probably the clearest example of that approach, combining the precision and restraint of SieMatic with the tactility and individuality of hand-crafted bespoke furniture.
They are two different design languages, but I don’t believe they need to imitate one another to coexist, if they make sense together and create interest, then that is the approach we will take. For me, pushing boundaries isn’t about being different for the sake of it, it’s about understanding the principles, understanding the person, and having the confidence to challenge convention when the design rationale supports it.
One of the greatest challenges is maintaining the integrity of an idea from the initial concept through to the finished space. As projects become more ambitious, the relationship between creativity and technical understanding becomes increasingly important.
Proportion, tolerances, junctions, lighting, services, material behaviour and installation all influence whether a design ultimately feels resolved. Technical understanding gives you greater creative freedom - when you understand how a design will be constructed and the principles behind it, you have greater confidence to explore ideas beyond the expected.
Experience has also taught me to recognise when somebody else’s expertise can make a project stronger. I’ve always believed in collaboration over competition, and our relationship with William Howarth and Holly Stott, the co-founders of luxury bespoke bathroom design studio, Holt Living, is a great example of that. We’re aligned in our approach to design, the premium products we work with, the client experience we want to deliver and, importantly, the level of technical resolution behind the finished space. Their strength in creating bespoke bathroom designs, master en-suites, spa wellness rooms and custom-made bathroom furniture sits naturally alongside our focus on furniture design, allowing us to work collaboratively across more areas of the home and extend that collective expertise to each other’s clients for an exceptional outcome. Our successful partnership was recognised at the 2025 designerati North Awards winning the award for ‘Best Trade Collaboration’.
To trust my instinct sooner.
In the earlier years of Grid Thirteen, I probably believed that with enough effort I could make every opportunity, partnership or relationship work. Experience has taught me that recognising when something isn’t right is just as important as knowing when something is.
I’ve also become much more conscious of protecting the culture within the studio, design is collaborative, and our people produce their best work when they feel trusted and valued. We have a team with different strengths and perspectives, and I don’t want everybody around the table to think like me - our work would be far less interesting if they did.
Take your time to develop your own style and try not to get too caught up in the constant pursuit of the ‘latest trend’. When a client is investing significantly in their home, they want to feel that the design is genuinely theirs - a response to how they live, what they are drawn to and the architecture around them, rather than a generic aesthetic that may be superseded over time.
I would also say that it’s important to value the technical side of the profession. A strong concept needs to be technically resolved, and the creative at the front end has to be backed up by a process that supports the project all the way through to delivery and project completion. Understanding how a design develops from concept through to technical detailing and installation doesn’t limit creativity, it gives you greater freedom and the confidence to explore ideas with real intent.
Spending time on site with the people installing your work is invaluable, understanding the challenges they face and seeing how decisions made at the design stage translate into reality will make you a better designer. Some of the most valuable things I’ve learnt have come from those conversations, and from building relationships with people whose knowledge and experience are different to my own.
And finally, stay open to the people around you, I’ve worked in the industry for over 30 years and I’m still learning - sometimes from people who have been designing for far less time than I have. Experience brings knowledge and confidence, but there should always be room for another perspective.
There’s no question that technology and AI will inevitably continue to influence how we work and live, but I think there is an interesting counterbalance emerging. As our lives become faster and increasingly connected to technology, I find myself thinking more about how we experience our physical environments through the senses - and the role our homes can play in allowing us to step away from some of that constant stimulation.
Neuroaesthetics is an area I’ve become increasingly interested in, particularly how the pace of activity within a space, and the level of decision-making taking place, might influence the way we experience that environment. A kitchen or entrance hallway, for example, can involve fast movement, conversation, noise, multiple tasks and a constant series of small decisions. Compare that with a bedroom or wellness space, where the intention may be to reduce stimulation, slow things down and allow us to switch off. When designing for this approach, one question I always ask myself is – ‘if the demands we place on ourselves change from one environment to another, should the sensory demands of those spaces change with them’?
For me, this is something I want to explore further through our work as a practice. It raises interesting questions about how these factors can inform a more individual response to design, rather than being considered purely through the aesthetic of a space.
Becoming an SBID Accredited Design Practice is important to us because it recognises the professional standards behind what we do. Interior design is creative, but it also carries responsibility, and that requires knowledge, technical competence, integrity and accountability.
As an independent studio in Yorkshire, being part of SBID also connects us to a wider professional design community. We’re fortunate to work alongside some exceptional designers and architects here in the North, and I value the opportunity accreditation gives us to share ideas, learn from others and contribute to the wider conversation around our profession.
The SBID accreditation represents the standards we hold ourselves to as a practice, while giving us the opportunity to be part of a professional community that supports collaboration, knowledge-sharing and supporting the next generation of designers.
About Grid Thirteen
Grid Thirteen is an independent luxury interior design studio based in North Leeds, specialising in bespoke kitchens, bedrooms and living spaces throughout the UK. Every project begins with understanding how our clients live, ensuring each space is shaped around the way they live rather than passing trends. Our work combines interior architecture, technical precision and exceptional craftsmanship to create interiors that feel timeless, functional and deeply personal. Collaborating with carefully selected manufacturing partners alongside our own handcrafted furniture collections, we deliver beautifully resolved interiors where every detail has purpose, every material is carefully considered, and every project is approached with an unwavering commitment to excellence.
Andrew Rizza, Founder and Creative Director of Dream Design, shares how his background in craftsmanship continues to shape the company’s approach.
I began as a carpenter before moving into bespoke joinery and cabinetry, founding Dream Design in 1984. What started as a workshop making bespoke cabinetry grew naturally as our clients invited us to become involved in more areas of their homes.
Today, we specialise in kitchen design, bathrooms and complete residences throughout the UK and internationally. That grounding in craft still informs every project, from the overall proportions to the smallest construction detail.
We remain family-run, now in our second generation. My son, Connor, joined in 2018 and leads our brand and client experience, while I lead the studio’s creative direction. That year also saw us open our Design Centre in Christchurch, Dorset.
It grew naturally from making furniture. I became increasingly interested in the space around each piece and how the whole room could work better.
Interior design brought together the things I enjoy most: creativity, craftsmanship and practical problem-solving, with the opportunity to make a lasting difference to someone’s home and quality of life.
Helping clients see possibilities they had not considered. A conversation about replacing a kitchen might lead to relocating it, opening the house to the garden and transforming how the family uses the space. Kitchen design brings together so much of what we do, from spatial planning and bespoke cabinetry to materials, lighting and the practicalities of cooking and entertaining.
Those discoveries begin with listening. Seeing clients enjoy the result, then being invited back for another home or the next generation, is especially rewarding.
We recently completed a full refurbishment of a stunning coastal home in Dorset. What made the project particularly rewarding was the clients’ trust in us, which gave us complete creative freedom to explore the property’s potential. Considering the home as a whole allowed us to bring everything together into one cohesive design. That is how we most enjoy working and where we do our best work.
Another highlight was completing an extension to our 5,000 sq ft Design Centre in Christchurch, Dorset, where clients can explore fully realised kitchen displays alongside bathrooms and living spaces. It gives them an opportunity to experience the quality, craftsmanship and approach to design that define Dream Design.
Residential projects where we can become involved early and consider the home as a whole, whether a new build or a refurbishment. Developing the layout, lighting, materials and furniture together allows every decision to contribute to the finished result.
The architecture and the clients give each project its character. Discovering what will bring out the best in both is what interests me.
Carrying the quality of an idea through to the finished home. A seemingly simple detail can require considerable thought and coordination, so clear drawings and close relationships with craftspeople are essential.
Equally, clients need confidence throughout the process. Helping them understand priorities and make informed decisions is an important part of our responsibility.
How much depends on listening and communication. Asking the right questions at the beginning shapes everything that follows, while explaining decisions clearly helps everyone work towards the same result.
Learn how things are made. Spend time in workshops and on site, handle materials and follow your designs through installation. Understanding construction sharpens your judgement and gives you greater freedom to design with confidence.
I think considered advice will become increasingly valuable. Clients have access to endless inspiration and information; helping them decide what belongs in their home is where our experience makes a difference.
It gives clients reassurance when choosing who to trust with their home. From there, that trust is strengthened through thoughtful advice, careful detailing and consistent service, throughout the project and after its completion.
About Dream Design
Dream Design is a luxury kitchen, bathroom and interior design centre in Dorset, creating one-of-a-kind private residences across Dorset, Hampshire, Poole, the UK and internationally. Supported by its award-winning interior architecture and interior design studio, Dream Design specialises in bespoke kitchens, bathrooms, bedrooms, living spaces and complete home design. The 5,000 sq ft Design Centre brings together leading brands and specialist ateliers across kitchen design, bathroomware, appliances, surfaces, lighting, furniture and interior architectural details, creating a distinctive design destination for private clients, architects and developers seeking a considered, highly tailored approach to residential design, specification and project delivery.
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.
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