Supremati Interior Design

Supremati Interior Design London based interior design studio, working internationally.

Supremati is an interior design studio dedicated exclusively to transforming living spaces into luxury, bespoke homes. Drawing on insider knowledge of the global property market with an international sensibility for art & interiors, Supremati transforms complex spaces into functional luxury homes. Supremati’s signature attention to detail is applied from concept to completion, taking advantage of

their reliable network of architects, suppliers, craftsmen and contractors with a proven history of delivering magnificent work. Supremati’s one-on-one dedicated service means Clients invest in designs crafted by collaboration, according to your vision and specific desires.

A quiet moment at Milan Design Week 2026 — Objects that Speak, a tribute to the late .Curated by Deyan Sudjic, director...
02/06/2026

A quiet moment at Milan Design Week 2026 — Objects that Speak, a tribute to the late .

Curated by Deyan Sudjic, director emeritus of the London Design Museum, the exhibition imagines Branzi’s lamps as a forest. A place of calm and contemplation amid the intensity of the week. You walk through them rather than past them.

Branzi spent six decades arguing that design should never be neutral — that objects carry the cultural memory of where they were made and the lives they pass through. Rosewood’s exhibition extends that argument: nine artists and designers, each commissioned for Rosewood properties around the world, brought together for the first time in Milan. Craftsmanship from Hong Kong sitting alongside ceramics from Mexico City. Wood from Paris in conversation with textiles from Marrakesh.

What stays with you isn’t any single piece. It’s the conviction that each object is a kind of voice — and that putting them in the same room is its own form of conversation.

This is what we keep coming back to in our own work. Objects placed with reason. Materials chosen because they belong to a place, or to a moment, or to a person. The contemporary inheriting from the historic, never erasing it.

A fitting tribute to a designer who treated every lamp as a small piece of architecture.

Continued from the previous post.Our clients arrived with a life lived through art, fashion, design, and architecture — ...
28/05/2026

Continued from the previous post.

Our clients arrived with a life lived through art, fashion, design, and architecture — a curated existence of bold encounters and unapologetic colour. They were clear about what they did not want. No washed linens. No bleached palettes. No coastal clichés.

Despite the oceanfront setting, the interior was to feel like a personal manifesto. A home that tells the story of objects loved, collected, and lived with.

Each space became a deliberate act of curation. A fashion archive speaking to a piece of contemporary art. Architectural references beside design icons. Colour never used as decoration, always as declaration.

This is not a home designed around a location. It is a home designed around a life.

A private coastal residence. Location confidential.Some homes are built to face the sea. This one was built to become it...
27/05/2026

A private coastal residence. Location confidential.

Some homes are built to face the sea. This one was built to become it.

The exterior draws its language from one of the ocean’s most ethereal inhabitants — the jellyfish. Weightless. Luminous. In perpetual, hypnotic motion. Fluidity rendered in structure. Stillness that breathes.

Inside, the narrative shifts entirely. Continued.

21/05/2026

A morning at Chelsea Harbour Design Centre, sourcing fabrics and lighting for our current Belgravia and St John’s Wood projects. Florka came along, as she usually does on the days that matter.

There’s a reason we still come here in person. Samples sent to the studio tell you a fraction of what you need to know. A fabric reads differently in a half-metre swatch than it does in two metres draped against a wall. A finish on a website is not the finish you specify for a client’s drawing room. The difference between a beautiful project and an exceptional one often comes down to decisions made standing in front of the material, not scrolling past it.

A few of the showrooms we visited:

— for tailoring-grade fabrics with a depth most houses can’t match
— for the textiles we keep returning to on heritage projects
— for contemporary palettes that hold their nerve in classical rooms collezioni — for furniture with the kind of quiet sculptural integrity that elevates a whole space — for chandeliers that earn their place in a room rather than announcing themselves — for linens that age the way the best linens always have
— for textures that change the way a room is read

This is the part of the work no client ever sees. It’s also the part that makes the rest of it possible.

19/05/2026

Nilufar Depot, Milan Design Week 2026.

reimagines collectible design as a fictional hotel — ’s Grand Hotel exhibition stages vintage and contemporary work in dialogue, where the objects themselves become the protagonists.

A sculptural reception desk by Lola Montes opens the space — hand-modelled ceramic magnolia blossoms, volcanic materials, vivid chromatic contrasts — anchored by a monumental vintage Calla chandelier that softens the entire atmosphere into something lit and inhabited.

In the main atrium, the lounge unfolds as a gathering space. Zakuro textile installations by Marco Mastroianni and Giovanni Iacono carry Japanese-inflected botanical richness. Arecaceae ceiling lamps by Christian Pellizzari reinterpret the geometry of palm trees through Murano glass. Vintage American pieces by James Mont, Paul László and Grosfeld House sit alongside contemporary work by Vikram Goyal, Nao Matsunaga and Filippo Carandini. Bronze, ceramics, hand-painted surfaces. Carpets by layered underneath.

What stays with you isn’t any single object. It’s the conviction that none of them needed to be staged louder. Curation as restraint. The atmosphere itself doing the work of telling you what to look at.
This is the version of Milan I keep coming back to — collectible design treated as architecture, where the vintage and the contemporary aren’t competing for attention but composing a room together.

Photography & video

A welcome moment this morning — our KYLU Creative Office in London has been named a finalist at the .interiors Mix Award...
14/05/2026

A welcome moment this morning — our KYLU Creative Office in London has been named a finalist at the .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.

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Dior at Palazzo Landriani.Guests entered through an immersive raffia garden, hand-crafted by Thai artists Korakot Aromde...
08/05/2026

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.”

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.

A Giorgetti desk. Vitra chairs in soft blue leather. And overhead, Light + Light by Moritz Waldemeyer for Ingo Maurer — ...
06/05/2026

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.

A grown-up room, designed for a client who knows what he likes — classical London interiors, art, cars, and the occasion...
05/05/2026

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.

Palazzo Litta is the kind of room that makes a designer go quiet.Baroque in the full sense of the word — gilded, theatri...
30/04/2026

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 , 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.

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