Supremati

A welcome moment this morning — our KYLU Creative Office in London has been named a finalist at the @mix.interiors Mix Awards 2026, in the Project of the Year category for Workplace Interiors under 5,000 sq ft. The brief was to design a workplace that didn’t feel like one. A space rooted in London — its rhythm, its references, its colour — that gave the team somewhere to gather, think, and host. The Swiss Cottage Underground roundel, the red detailing, the terrazzo benches, the central tiled column wrapped in painted timber: each element drawn from the city the company calls home. Workplace interiors are often designed to disappear. We wanted KYLU to do the opposite — to feel like a place people would notice, return to, and recognise as theirs. Thank you to the team at Mix Interiors for the recognition, and to our client for trusting us with a brief that asked for something braver than the category usually allows. Contractor @melner.co.uk 📸 @tomkurek.co #MixAwards2026 #MixAwards #InteriorDesign #WorkplaceDesign #LondonDesign

Dior at Palazzo Landriani. Guests entered through an immersive raffia garden, hand-crafted by Thai artists Korakot Aromdee and Vasana Saima — an evocation of the gardens at Villa Les Rhumbs in Granville, where Christian Dior spent his childhood. Inside, the line of the 1947 Corolle skirt reappeared as light. A collection of lamps designed by Noé Duchaufour-Lawrance, mouth-blown in Murano in the house’s signature greys, pinks and whites, suspended alongside woven bamboo in homage to Japanese basketry. “Light projections are as important as the work on the material that gives rise to them,” said Duchaufour-Lawrance. “Through these reflections, light, itself, turns into matter.” @dior didn’t borrow the language of design here. The house spoke it fluently. A baroque palazzo, a couture archive, an artisan tradition from Thailand, and a Murano workshop — all answering each other inside one room. This is what I keep coming back to in Milan. The historic isn’t a backdrop. It’s the foundation everything else has to earn its place against. #Dior #MilanDesignWeek2026 #PalazzoLandriani #LuxuryInteriors #FuoriSalone

A Giorgetti desk. Vitra chairs in soft blue leather. And overhead, Light + Light by Moritz Waldemeyer for Ingo Maurer — eighteen LED rods descending like wax-tipped candles, each one programmed to flicker. A piece of technology dressed as something centuries older. The brief was to reflect a client’s passion for art, cars, and the kind of detail that rewards a second look. The result is a study that could sit in any decade of the last hundred years and still feel current. #InteriorDesignLondon #IngoMaurer #DesignDetails #LuxuryHomeOffice #SupremitiInteriorDesign

A grown-up room, designed for a client who knows what he likes — classical London interiors, art, cars, and the occasional piece of technology that surprises you. Oak panelling sets the tone. Recycled timber parquet underfoot. The fireplace anchors the room the way it would in a Mayfair club. Then the modern arrives carefully, and only where it earns its place. This is what we like designing most at Supremati. Rooms where the past is treated with respect and the modern is allowed to answer it. Neither dominates. Both speak. #InteriorDesign #LondonInteriors #LuxuryInteriors #HomeOffice #supremati

Palazzo Litta is the kind of room that makes a designer go quiet. Baroque in the full sense of the word — gilded, theatrical, the ceiling work alone enough to lose an afternoon to. The grand salon doesn’t ask for your attention. It assumes it. Which is exactly why Full Metal Banquet worked. A scenography by Eric Charles-Donatien for @lcdtextile , staged as a tribute to the salon itself: a baroque banquet built entirely from metal mesh — offcuts and production leftovers from Luc Druez’s textile workshop, transformed into ceremonial table settings, ornamental detail, armchairs, and a ceremony dress, all presented in Milan for the first time. What started as an abstract cloud of fibres became, through the artist’s hands, an entire ritual. This is the dialogue I keep coming back to in Milan. The room held centuries of ornament. The installation answered with ornament made from waste. Neither tried to win. Both spoke. Sustainability staged as ceremony, inside one of the most ornate rooms in the city. The historic spoke first. #PalazzoLitta #MilanDesignWeek #MilanDesignWeek2026 #DesignAndCraft #LuxuryInteriors

A former bank on Via San Vittore al Teatro. The vault left intact. A new @dimoregallery unfolding across two floors around it. This is the version of Milan I came for. The architecture isn’t styled away — it’s the foundation everything else answers to. Inside, historic Italian design sits in conversation with contemporary work by @dimoremilano and Interni Venosta. References to Luigi Caccia Dominioni, Nanda Vigo and Mireille Rivier run through the rooms. A collaboration with @cardigallery introduces works by Jannis Kounellis and other twentieth-century and contemporary artists, dissolving the line between furniture, art, and installation. In a dedicated room, a bronze bamboo installation by @osannavisconti anchors the space — tactile, sculptural, quietly symbolic. And then the atmosphere. A considered soundtrack drifting through the rooms, a scent layered into the air. You don’t walk through Dimoregallery so much as stay in it. Leaving feels like an interruption. Nothing here is incidental. Every placement is considered. The historic speaks first, and everything else earns its place. #Dimoregallery #Dimorestudio #LuxuryInteriors #MilanDesignWeek2026 #Interiors

Fourteen years of Milan Design Week. From fine arts student to today — and the city still teaches me something every April. The exhibitors change. The palazzi don’t. Italian architecture remains the most exacting client any designer could hope to serve. This year, my eye keeps going to the same thing: contemporary furniture placed within classical interiors. Three years restoring a Grade I listed home in London will do that to you. You learn that the modern only sings when the historic is allowed to speak first. #MilanDesignWeek #Salone #SaloneDelMobile #FuoriSalone #MDW2026

A private sanctuary inside a Grade I Listed Belgravia townhouse. The brief was deceptively simple: design a bedroom that respects 200 years of architectural heritage — without feeling like a museum. Every element was sourced, not selected: — Vintage Fontana Arte chandelier, suspended beneath the original ceiling rose — Aiveen Daly hand-sculpted fabric art panels set into Macassar veneer — Holland & Sherry curtains with hand-embroidered sheers — Bespoke Supremati bedside tables in Macassar ebony — Hervé van der Straten table lamps in bronze and alabaster The cornice stayed. The proportions were honoured. But the room belongs firmly to the 21st century. This is what we mean when we say Belgravia demands quieter luxury. Save this for your next project. Swipe for the full story. — @aiveendaly @hollandandsherry Follow @supremati for more from inside London’s most considered homes.

Nothing in this room was chosen from a catalogue. A closer look at the pieces behind our Belgravia bedroom project — and why each one matters: MACASSAR EBONY The headboard frame and bedside tables. A timber with natural striping so distinctive, no two pieces are alike. We designed and commissioned these in-house. AIVEEN DALY Hand-sculpted fabric art panels flanking the headboard. Textile as sculpture — not wallcovering. HOLLAND & SHERRY Floor-to-ceiling curtains in silk with hand-embroidered sheers. The embroidery pattern references the original cornice detailing. HERVÉ VAN DER STRATEN Table lamps in bronze and alabaster. Functional art from one of the world’s most collected lighting designers. FONTANA ARTE A vintage 1950s chandelier in multicoloured glass and brass. One of a kind. Sourced over six months. Hung beneath a ceiling rose that has survived two centuries. Heritage. Craft. Restraint. That’s the approach. Every time. — Working on a listed property? DM us or tap the link in bio. Follow @supremati #InteriorDesignDetails #BelgraviaProject #LuxuryMaterials #BespokeDesign #Supremati

“Mayfair vs Belgravia — How We Design Differently for Each” Same city. Same price bracket. Completely different design language. We’ve designed homes in both Mayfair and Belgravia. Here’s what surprised us about how differently they need to be approached: MAYFAIR • Georgian proportions — wider rooms, lower ceilings • Clients tend to want bolder, more contemporary statements • Art-driven schemes dominate • Entertaining spaces take priority BELGRAVIA • Stucco frontages, taller rooms, grander proportions • Quieter luxury — the interiors match the understated elegance of the streetscape • Heritage sensitivity is higher • Private sanctuaries take priority over social spaces The lesson: great design doesn’t start with Pinterest. It starts with the postcode. Which neighbourhood speaks to you? Tell me below. #MayfairInteriors #BelgraviaInteriors #LondonProperty #InteriorDesign #LuxuryLiving

“5 Marble Mistakes That Cost Thousands” I’ve seen these mistakes ruin six-figure kitchens. After 20+ years working with stone, here are 5 marble mistakes I wish every homeowner knew before committing: 1. Choosing from a sample, not the actual slab 2. Ignoring the vein direction (it changes everything) 3. Skipping the sealant conversation 4. Assuming all Calacatta is the same 5. Not seeing the stone in your home’s light first We fly to quarries in Italy. We select slabs in person. We check every block under natural light before approving. That’s the difference between a kitchen that photographs well and one that feels right for decades. Save this for when you’re choosing stone for your project. #MarbleTips #LuxuryKitchen #InteriorDesignTips #CalacattaMarble #StoneSelection

Every project starts as a conversation. No two end the same way. A terrazzo-clad office where the brief was “not another office.” A library designed for thinking, not just looking. A wardrobe conceived as architecture, not storage. A bedroom where every fabric was chosen to complement the light. We work across super-prime residential and bold commercial interiors — from Mayfair apartments and Belgravia townhouses to creative workspaces and heritage restorations. What stays the same across every project: we listen before we design. We source materials personally — marble from Italian quarries, ceramics from English artisans, fabrics from the best mills in Europe. And we don’t leave until every detail feels inevitable. The most interesting clients are the ones who know exactly who they are. The brief is never the constraint — it’s the starting point. If you’re considering a project and want a studio that treats your home (or workspace) as seriously as you do, the link is in our bio. Save this for future inspiration. Photography: @tomkurek.co | @andrewbeasleyphoto #InteriorDesign #LuxuryInteriors #LondonInteriorDesigner #BespokeDesign #InteriorArchitecture