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.

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.

Positano does not do neutral.My third time in Italy this year, and the Amalfi Coast still rearranges how I think about c...
22/07/2026

Positano does not do neutral.

My third time in Italy this year, and the Amalfi Coast still rearranges how I think about colour — ochre against sea, terracotta against shadow, whole hillsides composed like rooms.

We rarely borrow Italy literally. What travels home is the confidence — the way a single saturated tone can anchor a space the way a village anchors a cliff.

Gathered on the coast, filed for London.

In Belgravia, the brief begins with the building. A period home asks to be honoured — not frozen. Here we let the classi...
14/07/2026

In Belgravia, the brief begins with the building.

A period home asks to be honoured — not frozen. Here we let the classical proportions lead, then layered in contemporary detail so the rooms read as lived-in rather than preserved.

Heritage, in the present tense.

A penthouse extension on the roof of a 1930s H-plan mansion block on Abbey Road, St John’s Wood. Our fourth project with...
02/07/2026

A penthouse extension on the roof of a 1930s H-plan mansion block on Abbey Road, St John’s Wood. Our fourth project with a long-standing developer client.

The building sits in the St John’s Wood Conservation Area. The original rooftop housed a former caretaker’s flat — a compromised space that couldn’t be reached from the main lifts. The commission was to demolish it and replace it with a properly considered penthouse across a full new floor.

Rooftop extensions in a conservation area look straightforward until you start one.

The planning conversation was long. Every element of the new roofline had to be justified against the character of the conservation area. The front elevation was set back only slightly forward of the existing structure. The width of the extension was calibrated against the two window ends of the original building. The mechanical plant, including an air source heat pump, was screened by the roof parapet and detailed to be invisible from the street. Over a hundred consultations were carried out during the process, with formal objections raised and responded to before permission was granted.

Once permission was in place, our team was given full design freedom.

We reshaped the layout to maximise light and flow. The master suite was enlarged. Integrated storage was designed throughout. The interior aesthetic draws from the building’s inter-war Neo-Georgian symmetry, combined with the subtle glamour of Art Deco. High-gloss woods, marble surfaces, gold accents, mirrored finishes, and soft green tones drawn from Regent’s Park.

The visible design is a small part of a project like this. What made it possible is the year of work that came before.

Albion Gate. A two-bedroom apartment in a 1930s Art Deco building overlooking Hyde Park.The brief asked for something sp...
16/06/2026

Albion Gate. A two-bedroom apartment in a 1930s Art Deco building overlooking Hyde Park.

The brief asked for something specific — a home that belonged to its building. Not Art Deco pastiche, but a contemporary scheme shaped by Art Deco discipline. Considered geometry. Restrained palette. Materials chosen for the way they hold light.

The palette came from the park itself. Greens and blues drawn from the trees and the water across the road. Rubelli fabric wallpaper in the entrance hall. Marble flooring with mirrored insets to open the proportions. Bespoke joinery throughout, with door detailing designed for the building rather than borrowed from a catalogue.

What these images show is what the work actually looks like before it’s photographed. The room as we found it. The room mid-installation, with samples taped to walls and contractors moving through it. The room at the moment it stopped being a project and became someone’s home.

The visible part is a small fraction of the work. Most of it happens before this stage and during the part most studios don’t show.

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.

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

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