About Us

Fine art has been a lifelong pursuit, spanning art history, music, textiles, and model making. A degree in Communication and Culture brought study in Latin America, and each summer was spent across Europe, filling sketchbooks with museum and architectural reference. Technical training was completed at BCIT through a juried, rigorous 2.5-year interior design program covering architectural blueprints, 3D renderings, millwork, building code, and human-centred design for both residential and commercial spaces.

Private clients have been part of my practice since 2010, concurrent with my studies. In 2014, I joined some of Victoria's leading interior design firms. The first half of my career focused on commercial builds, with an emphasis on hotels, restaurants, and public spaces. The latter half has been devoted to high-end residential design, and the craft of achieving that same elevated standard through bespoke property flips.

Truly sustainable design is grounded in restoration and preservation. The practice of discarding furnishings and finishes every few years, whether from wear or shifting taste, runs counter to every principle of responsible design. My approach is to create spaces built to endure, in quality, function, and aesthetic, reflecting a standard of craftsmanship that was once considered the norm.

In the early 90s, my mother and I designed furniture and accessories for our family home, each piece crafted by local artisans. When we returned in 2022, everything remained exactly as we had placed it, thirty years on. That visit confirmed everything I believe about design done well.

My design references span the globe, informed by both ongoing study and years of immersion in international spaces.

Kelly Wearstler has been my primary muse since design school. Her ability to reinvent materials, seek out emerging makers, and produce work that is simultaneously current and timeless, precisely because it exists outside of trend, is something I return to constantly.

William McLure brings the eye of an artist to interior design. His homes, whether modest or grand, share the same refinement. His mix of high and low, and his gift for elevating the ordinary, demonstrate that genuine taste is independent of budget.

I also draw consistent inspiration from Banda Properties, Watts Design House, The Fox Group, Mark D. Sikes, Hugo Toro, Jan Showers, Jeremiah Brent, and Tara Shaw. For tablescaping, India Hicks remains unmatched.

My aesthetic has deepened over the years while remaining consistent at its core. I describe it as refined maximalism: spaces filled with considered materials and beautiful objects, edited with a restrained hand so that every element feels intentional rather than accumulated.

High and low coexist naturally in my work, as do antiquity, vintage, and contemporary. Organic forms meet geometric ones. With a curatorial approach, harmony emerges between what might otherwise seem contradictory, and it is precisely that tension that gives a space character.

I am also drawn to materials used outside their conventional context: wood-clad walls, wallpaper on ceilings, stone baseboards. The considered detail in unexpected places is often what distinguishes a truly memorable interior.

I am most inspired in beautiful hotels, heritage buildings, international restaurants, art galleries and in nature. Anywhere that has a creative use of materiality and form, yet remains functional and doesn’t feel too precious.

Begin with the architecture. Understand the period your home belongs to and honour it with appropriate pieces, then layer in objects from other eras to create something that feels current and collected rather than prescribed. Antique pieces can be reupholstered or refinished to bring them forward without losing their integrity.

Resist the convenience of sourcing everything from a single retailer. The result may be cohesive, but it will lack the dimension and longevity that comes from a considered, varied approach.

A home designed with quality materials and genuine intention should endure across decades. By drawing on trends as reference rather than prescription, the result is a space that belongs entirely to its owner, and to no particular moment. It cannot be dated, because it was never defined by a trend.

This is a meaningful investment of time and resources, but one with lasting returns. Years on, the adjustment may be a single reupholstered chair rather than a full renovation.