The beauty of bespoke
Interior designer Francis Sultana unpacks his love for contemporary art, his work with the National Trust, and why he prefers the timeless over the transient.
Francis Sultana’s work is known for its use of noble materials such as bronze, rock crystal and straw marquetry, as well as bespoke fabrics. It is an approach that has become synonymous with beauty, quality, and luxury. Yet, pinpointing any single ‘style’ in Sultana’s work is difficult. As he puts it, “every interior I design has its own feel, so it is difficult to describe what I do. I love beautifully made furniture, I love texture, and I love colour. Those are really the most enduring elements of my style.
“I’m lucky to work with some major collectors of design and art around the world, including clients with a keen eye who know a lot about design,” he continues. “When I create an interior for them, it’s always going to reflect them and their passions.”
It’s this unique ability of bespoke design – to speak to the needs of its occupants, and to embody their character in the world – that gives it such appeal. Neither Sultana nor his clients think in terms of ‘one-size-fits-all’. Rather, his work is the result of a collaboration, in which designer and owner work hand-in-hand to imagine new possibilities for a space, and to bring them to life. It’s a process about which Sultana is unsurprisingly enthusiastic.
“I really enjoy creating pieces that are made to fit a particular space or location,” he says. “The process of creating bespoke pieces is wonderful for the designer, and for the client, as it allows them to participate in the creative process first-hand, something they all enjoy. At the same time, having limited edition and one-off pieces is important for my clients. Ultimately, it’s about exclusivity – you don’t want to see the same piece of furniture everywhere.”
“It’s this unique ability of bespoke design – to speak to the needs of its occupants, and to embody their character in the world – that gives it such appeal.”
The artist’s vision
Francis Sultana grew up in Gozo, a small island within the Maltese archipelago. It was there that he fell in love with homes and interiors, and by the age of 12 he was purchasing his own copies of World of Interiors. Inspired by his childhood reading, Sultana embarked on a design journey of his own – and he made his breakthrough when that same magazine awarded him the front cover for one of his very first interiors – for his mother’s house in Gozo.
Looking back, Sultana describes that cover as a “huge moment”, one that set him on course for success. After moving to London at the age of 19, Sultana continued to foster his passion for interior design, taking inspiration from those he calls the “greats”, including the likes of Michel Frank and David Hicks. But since then, his star has surged. The designer established his eponymous studio in 2009, and now produces annual collections of bespoke and limited-edition furniture and textiles for a global client base.
Sultana has cited contemporary art as his “biggest inspiration” as an interior designer, a passion that dates to the 90s, when Sultana met gallerist and curator David Gill, and soon began working in the latter’s gallery on Fulham Road. He’s since collected works from the likes of Paul McCarthy to Mattia Bonetti, Grayson Perry, and Donald Judd, and younger artists like Flora Yukhonovich. It’s a story that underlines the close proximity between art and design. As Sultana says, “All the artists I love have had an influence on me, whether it’s through their use of colour, structure, or shape. I’m always looking, always thinking about design – be it interior or furniture design – and always creating.”
If the designer is an artist, the properties – and their interiors – are the canvas. “If a client has a major art collection of their own, then part of my role is to curate the collection for their home and work out how to make the interior design work alongside it and to enhance it,” Sultana notes. The challenge for the designer, as for the artist, is one of vision and composition.
“In recent years, consumer interest in sustainability has soared. When it comes to interiors, that means a growing focus on mindful, environmentally responsible pieces: think reclaimed wood designs and recyclable materials, and a resurgence of interest in vintage and pre-loved pieces.”
Interiors beyond time
The world of interior design is awash with trends in 2024: from retro-inspired looks featuring bold shapes and bright-as-you-like colours, to the embrace of nature-inspired sculptures, textural finishes and other biophilic design elements. But turning to trends doesn’t guarantee a long-term solution. For Sultana, a driving motivation behind his bespoke designs is the need to create pieces capable of withstanding the test of time. His studio strives to support artisanal skills and techniques from around the UK and Europe throughout its work.
“I don’t really like the word ‘trends’,” Sultana admits. “It feels so transient and that’s not what I am about. I like things to have longevity and a timelessness about them.” It’s an attitude that goes some way to explaining Sultana’s appeal. In recent years, consumer interest in sustainability has soared. When it comes to interiors, that means a growing focus on natural materials and a resurgence of interest in vintage and antique pieces. “I like the idea of sustainability, and using traditional skills and keeping artisanal crafts alive,” Sultana agrees. “So, if there is any ‘trend’ I can get on board with, it is the support of our history of design and craft.”
Recently, Sultana has teamed up with luxury brands such as British bedmaker Savoir, Italian furniture maker Bonacina and French rug gallery Diurne. For Savoir, Sultana designed the Louis, drawing inspiration from Elizabethan ruffs and collars. For Bonacina he delved into the design archives of the company and for Diurne, it was the 1920s palaces of the Maharajas that provided inspiration, all further evidence of his love for design heritage and history. As part of a varied career, Sultana has designed furniture, lighting and accessories and has created key pieces for important historical interiors, such as Spencer House and work with The National Trust. Now, he is soon to apply his skills to another historical residence, having recently become custodian of the Hunting Lodge in Hampshire, former home to British decorators John Fowler and, more recently, Nicky Haslam.
“I have always been a huge admirer of Fowler,” Sultana tells us. “Even as a young man, I loved the magical atmosphere of the Hunting Lodge when he owned it – it has always had a very special place in my heart. I watched with admiration what Nicky Haslam achieved with the house once it was with the National Trust and under his direction.”
With the Lodge now in his tenure, Sultana has pledged to sustain its legacy, not only through meticulous restoration, but also through the “highly specialised decoration and antiques” he is sourcing from across Europe. “I can’t wait to move in later this year, and take this house on to its latest chapter.”
Francis Sultana is an interior and furniture designer. His studio is based in St James’ London in the same building as David Gill Gallery, of which he is Artistic Director & CEO. He is also Ambassador of Culture for Malta, he sits on the International Councils of both the Serpentine Galleries and Design Museum, London as well as being a member of the board on the Victoria & Albert Museum Advisory Council.
Beneath the surface Why bespoke design needs bespoke protection
When having interior design completed in your properties, it raises the question of how to insure certain pieces or installations. Too often, pieces are lumped under the umbrella of ‘general contents’, but this is unlikely to reflect the unique qualities of bespoke design. Instead, such pieces may be more appropriately covered as ‘art’. Do so, and you’re likely to benefit from lower rates, lower (or even nil) excesses, and a wider scope of cover. As all designs bring different risks, it’s also crucial to have the work reviewed to ensure your cover is perfectly tailored to your exposures. For instance, if your design and installation borders on a change to the property itself, it could potentially be classed as ‘works’, and may require specialist cover.
Contact
Rachel Gilliam
Partner, Head of Lockton Private Clients