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.

One of these bookcases is a door.The layouts I shared last week are becoming rooms. This is the first of them: a home of...
21/09/2026

One of these bookcases is a door.

The layouts I shared last week are becoming rooms. This is the first of them: a home office in a house in Wimbledon Village, for a client who works here and receives his own clients here.

The bookcase opens into the lounge next door, so a meeting can move from business to conversation without walking anyone back through the house. From the lounge, a staircase down to a pool table, a quieter seating area and the wine cellar.

The oak panelling started with the London members’ club our client has belonged to for years — he wanted the room to feel the way that room feels. You reach it straight from a white panelled entrance hall, which is the point. Light, formal, ceremonial; then a door, and a room that closes around you. Underfoot, reclaimed French oak parquet from Weldon Flooring — timber with a century of use already in it.

Everything you can move is of now. Desk by Giorgetti, chairs by Vitra, including the Eames Lounge Chair by the fire. A Rolf Sachs greets you on the way in, and on the far wall Artist Dimitri Likissas’s Porsche 964 — a car built entirely from painted dots that only resolves when you step back from it.

And overhead, Flying Flames by MORITZ WALDEMEYER and Ingo Maurer: a chandelier of candles in which every flame is an LED. A candle lit by technology, hanging in a panelled room — the whole brief in one fitting.

A home office is rarely about the desk. Done properly it is a route.

The plans for this house were already drawn. Technically, there was nothing wrong with them.Our client knew exactly what...
17/09/2026

The plans for this house were already drawn. Technically, there was nothing wrong with them.

Our client knew exactly what was missing, and it started in the kitchen. She cooks with friends and family around her — that is where her evenings actually happen. On paper it was a room to cook in, not a room to live in.

So the brief was a layout that works as hard as the house is large. A kitchen designed around the way she really cooks and gathers, with the utility a few steps away and a laundry shaft exactly where it saves her a staircase. An entrance that makes an impression, with his office directly off it. His and her bathrooms. A wardrobe with real capacity. Storage everywhere it can hide. Every square inch of 600 square metres earning its place.

We went through the house room by room, asking not “does it work?” but “does it work for her?”

Swipe for before and after, ground floor and first — and where those plans are heading.

People think interior design starts with the beautiful things. It starts here, where nothing is beautiful yet and everything is decided.

One colour does all the work in this room.Everything else is a neutral — and that is the whole trick of a scheme like th...
14/09/2026

One colour does all the work in this room.

Everything else is a neutral — and that is the whole trick of a scheme like this. Six materials, and only one of them raises its voice.

BLUE VELVET — the only saturated colour in the room. It carries the scheme, which is what lets everything around it stay quiet.

BRASS NAILHEAD TRIM — a close-set line of studs following the curve of the chair. It draws the silhouette, so deep blue never reads as a heavy block.

GOLD HONEYCOMB WEAVE — a small repeating cell on the cushions. Pattern at arm’s length, plain warmth from across the room.

ANTIQUED MIRROR — deliberately imperfect glass behind the shelves. It doubles the light without doubling the room.

PEBBLED CREAM FRONTS — pale cabinet doors framed in slim metal, so a wall of storage reads as a piece of furniture instead.

PALE OAK, DARK LACQUER — a light floor under high-gloss tabletops. That contrast is what gives a flat with ordinary ceilings its sense of depth.

Albion Gate, Hyde Park.

⁠— Luxury interior design, London supremati.co.uk

The headboard was made for this room. Everything else was chosen for it. The second bedroom of our Albion Gate apartment...
11/09/2026

The headboard was made for this room. Everything else was chosen for it.

The second bedroom of our Albion Gate apartment, on the edge of Hyde Park.

The headboard is the one commissioned piece — wool velvet, upholstered across the full width of the bed and wrapped around the corner, so the wall behind the pillows is soft rather than flat. Nothing off a shelf does that; the room had to be measured first.

Everything else was selected, and that is its own discipline. Cushions with a honeycomb raised in the weave, because texture is what stops near-black from reading as a hole in a pale bed. A bouclé cushion edged in bronze cord — the only hard line in the arrangement. Linen with a drawn border along the turn-back, so the fold has an edge instead of a crease. A loose-woven throw across the foot, to break the run of white. Anyone can commission. Knowing what to put beside it — and what to leave out — is the part that takes twenty years. Selection is the harder half.

The Prudential tower was the tallest building in Poland when it opened in 1934. It was shelled through the Uprising and ...
09/09/2026

The Prudential tower was the tallest building in Poland when it opened in 1934. It was shelled through the Uprising and the steel frame held. Rebuilt in the fifties in a heavier language, it is now Hotel Warszawa.

For a few days each September the galleries move in. Hotel Warszawa Art Fair puts the Polish scene into the guest rooms and the bathrooms — canvases laid on beds, leaned against headboards, propped in the bath. Nothing can be drilled into the walls, so the hang has to be negotiated with the furniture rather than imposed on the room. You end up reading scale and placement the way a client does, standing in a real room rather than a white one.

Seeing my friend Paweł Śliwiński Paweł Śliwiński shown by Galeria Przeciąg was the pleasure of the weekend. I have several of his paintings.

I learned precision on superyachts. I learned luxury at Harrods. I learned restraint on my own.My career didn’t begin in...
01/09/2026

I learned precision on superyachts. I learned luxury at Harrods. I learned restraint on my own.

My career didn’t begin in Mayfair. It began in Poland, at the country’s most high-end interior design studio, where I learned what luxury actually means in an interior. Not expense — standard. The weight of a door, the set of a seam, a detail drawn properly before anyone builds it.

At The Studio at Harrods, I learned who luxury is for: clients who have seen everything and notice when the best isn’t there. Reputation is made in the last five per cent of a project.

On superyachts — at March & White, Lawson Robb and Sinot Yacht Design — I learned precision. Every panel bespoke, tolerances in millimetres, materials chosen to withstand movement, salt and light. When the floor moves beneath you, “close enough” does not exist.

Restraint I had to learn on my own. Supremati is what those chapters add up to: interiors that are refined, deeply personal and true to the architecture around them — one designer, from first concept to final installation, on homes where nothing less would do.

Twenty years on, that is simply how I work.

heritageinteriors

Nothing in this room was chosen from a catalogue.A closer look at the bedroom of our Albion Gate apartment — a 1930s art...
21/08/2026

Nothing in this room was chosen from a catalogue.

A closer look at the bedroom of our Albion Gate apartment — a 1930s art-deco building on the edge of Hyde Park — and why each material is there.

The headboard is upholstered to the width of the bed and set into a polished timber frame, with a single line of antique brass nailheads run by hand along the seam.

The wall behind it is not painted. A fine woven cloth absorbs light instead of bouncing it back, set against one dark lacquered wall to give the corner some weight.

The cushions are bouclé, edged in a dark brush fringe so the pale bed has an outline rather than dissolving into the linen.

The bedside chest is dark timber polished to a mirror, inlaid with fine brass lines and finished with a leather-and-brass ring pull. The lamp beside it is a hand-blown bronze-mirrored body on a slim plinth, chosen because it reflects the room back rather than adding another colour to it.

Above the headboard, two framed works on paper. In a room this restrained, the art is the only thing allowed to be busy.

Every surface here was chosen for how it behaves: in daylight, under lamplight, and under the hand. That is the difference between a room that has been decorated and a room that has been designed.

17/08/2026

Stone is the one material on a project that cannot be corrected later.

A tile can be swapped. A paint colour can be repainted. A slab is a single piece of geology — once it is cut, that is the piece you have. So the stone is selected at the yard before the room is drawn, the block is reserved, and the veining is set out panel by panel: butterfly-matched across the bath wall, carried through the shower return, run into the basin so the block reads as one solid piece rather than a cladding.

Brass against the marble. A quieter stone where the room needs to recede. A lit niche so the material does the decorating.

The work that shows is the work nobody sees being done.

06/08/2026

Joinery is the quiet architecture of a room.

Grain matched across doors, shadow gaps held to the millimetre, bronze that will wear in rather than wear out. Nobody photographs it and everybody feels it.

The first in a series on material — wood to begin with, stone to follow.

Curtains at this scale don’t happen by accident.In this Grade I listed London dining room, the windows run nearly the fu...
28/07/2026

Curtains at this scale don’t happen by accident.

In this Grade I listed London dining room, the windows run nearly the full height of the room, 4 meters tall and the curtains had to hold their own against those proportions. We dressed them in a sage silk from Dedar, finished with a Zoffany border and hung on antique brass poles from Tillys. Behind them, sheers from De Le Cuona — with a vertical border to tie them back to the silk.

In a listed building, window treatments are architecture as much as decoration. Get the scale, the heading or the fabric weight wrong and the whole room feels off. So we design them from first concept — alongside the joinery, the lighting, the furniture plan — never as a finishing touch.

Fabric, border, pole, heading, sheer: five decisions most people will never notice. Which is exactly the point.

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London

Opening Hours

Tuesday 9:30am - 6pm
Wednesday 9:30am - 6pm
Thursday 9:30am - 6pm
Friday 9:30am - 6pm
Saturday 9am - 6pm

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+447729700216

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