Skinny furniture and subtle luxury: 7 top designers on what interiors will look like in 2024

New year, new space — it’s just natural that the dawn of 2024 and the arrival of the Year of the Dragon psychologically influences us to freshen up our homes. If you heed the advice of some of the world’s best interior designers and architects, however, this is the year to forget about trends. Instead this is the time to embrace timeless, classic design and double down on sustainability.  

We asked seven acclaimed designers around the globe about the movements that will shape the way our spaces look, how we’ll live in our homes and how to make better, greener design choices. 

Jean-Louis Deniot: “Skinny silhouettes and everything vintage will rule”

What you love won’t go out of style — this is something that Jean-Louis Deniot lives by. “Good design is one that you can get excited about, that you can grow old with. The roots from the past, the excitement of today and the optimistic vision of the future needs to be translated in the design,” says the sought-after French designer known for his glamorous work. 

Deniot has noticed a few trends shared across the globe: A proliferation of bouclette, which was popular in the 1970s, colour palettes that hark back to the Memphis style of the 80s, and a vibe that mimics “Charlotte Perriand working in the French mountains” with the use of heavy wood. “What I gather from the heavy wood trend is the intent to show value, something steady, but I'm a bit appalled by the amount of material required to manufacture a single table,” he says. 

Being out of touch with the environment and excessive waste are things Deniot would like to see less of in the future. “I hope that design will take on a more naturalist shape, because right now it’s not respectful to nature. The oversized is overdone, skinny everything is the next trend. Skinny means less materials, leaner silhouettes — it's very attractive.”  

Many Deniot projects give vintage pieces pride of place, and he says that the pre-loved movement is only getting stronger. “Everyone has a chance to make vintage their own — whether you bought it or it was passed down to you, you can mix it with your favourite things in a way that makes sense to you. Even something that at first glance might appear ugly, by using it in the right context your perception of the piece can change completely.”

Anna Sy: “Clever screens are the layering element to have” 

Our home was our universe during the pandemic and the effects of being homebound still lingers to this day according to Anna Sy, co-founder of CS Architecture, a firm with offices in Connecticut, US and Manila, Philippines. “Clients now aspire for their homes to hold everything that they require for their daily routine and entertainment. Home offices, gyms, spas and theatres have become common requests.”  

Her practice is known for a design process that embraces the flow of natural ventilation and natural daylight, as well as bridge indoor and outdoor spaces. In recent times, Sy sees an increasing use of screens not only to delineate spaces but to enhance them. “Screen elements were common in traditional Islamic and Japanese architecture, often used to create a sense of visual privacy without completely blocking out daylight and sound.” Contemporary designs and patterns — from linear, geometric, or arabesque — create “a wonderful surface of textures and interesting silhouettes, and add a further element of discovery once the layers unfold.” 

CS Architecture is also focused on ‘contextualism’ — respecting the cultural, historical and natural context of each location — and sustainability goes hand-in-hand with their philosophy. According to Sy, a simple way to be greener homeowners is installing proper insulation, using double glazed or smart glass windows, and incorporating solar energy. She also urges everyone to consider the use of recyclable materials such as cork, bamboo, cultivated woods or old recycled wood, tiles with recycled materials, and low-VOC paints.  

Francis Sultana: “It’s time for us to think about longevity first” 

From the stylish interiors of Hotel La Palma in Capri to collaborations with venerable brands like Ginori1735, Francis Sultana is the go-to designer for worldly aesthetes and serious art collectors. While he leans heavily on the Art Deco period, his central approach is creating a timeless interior true to our time but also ages well. “It's all about creating a future classic,” says Sultana.   

The current climate crisis weighs heavily on his mind, and says everyone should be conscious about it. “Sustainability and longevity are core to what I do and this is something that will become one of the key forces in lifestyle and design trends. It has to be!” For him, being sustainable starts with embracing enduring design as well as supporting heritage crafts when you renovate and decorate. “I have always worked with local craftspeople, which keeps skills alive where they might be dying off and enabling communities to sustain themselves.”  

Materials are “everything to a designer” and no matter the visual trends today, one must go for natural, authentic materials. “I don't like anything fake, so wood must be wood (and sustainable at that). I always source the best quality I can as it is what makes my work recognisable.” He points out that the beauty of investing in top-notch materials is that they not only stand the test of time, but even grow better over time.  

Andre Fu: “Factoring in well-being is key to making beautiful spaces” 

The brains behind the serene Hotel The Mitsui Kyoto and the recently revamped Claridge’s Spa in London, interior architect Andre Fu is an expert in crafting spaces that help people relax. In recent years, the founder of AFSO and furniture line Andre Fu Living says that hospitality clients are taking wellness design and well-being elements more seriously — something he feels will dictate the home interiors as well.  

“I think it all boils to creating an experience that revolves around the emotions of being at ease, when one feels that they are in an environment that is authentic and genuine in spirit. I typically begin to conceptualise each of my spa projects with the notion of a journey in mind — the sense of discovery and the feeling of an escape is key.”  

This, however, does not mean being limited to neutral tones. “In 2024, I feel there is a return to solid colours — a punch of emerald green, mustard yellow or deep burgundy to provoke the senses,” says Fu. Currently, he’s particularly drawn to the artworks of Mark Rothko, having recently visited his retrospective in Paris, and this perhaps will translate in his many upcoming hotel and restaurant projects. 

Celia Chu: “There’s a growing affinity for nature and asymmetry”

Taiwanese architect Celia Chu, principal of CCDA, has noticed that most of us have a newfound appreciation for nature and outdoor space post-pandemic. “I’ve observed a growing emphasis on balcony size in current projects, particularly in large residential buildings. Initially conceived as auxiliary features, balconies are now meticulously planned with an eye on expanding their size and proportions — a positive trend in my view.”  

She’s also keen to proffer the benefits of asymmetry, which is increasingly found in furniture as well as fashion. “Over the years, I have developed a preference for seeking symmetry in the overall design structure and introducing asymmetry in the finer details,” she says.  

The desire for asymmetry is primal: While our bodies and facial features are symmetrical, examining the details reveals nuances, such as the heart being slightly off-centre. “Recognising the inherent asymmetry, even in our bodies, adds a diverse layer to our perception. We aim to incorporate this varied perception into our designs, exploring different relationships between the left and right sides, allowing for a more captivating and multifaceted experience into the interior design.” 

Lillian Wu: “People are searching for subtle luxury” 

The New York-based founder and principal of Lillian Wu Studio has worked on dozens of luxury projects from Bangkok to Bermuda. One thing she’s noticed is more and more requests for flexible, wellness-centric spaces. “The desire for residences to incorporate amenities focused on wellness has been enhanced. Designs are utilising spaces in different ways to allow for more work and down time spent in the home.” 

Another main shift is the move to a warmer approach to interiors, which is a direction she has espoused for a while. One of Wu’s go-to materials is wide European oak chevron flooring, which she has used in Rosewood Residences, as it always complements modern architecture in a timeless manner, while providing unique character. Other warm details, she says, include honed marble finishes, super matte, open-pore wood grain flooring, and jewel-like hardware.  

“People want to feel the comfort of a home and accent with a hint of sparkle — a more subtle luxury that everyone is searching for these days,” says Wu. She also adds that being sustainable doesn’t have to entail a huge renovation and can begin with simple changes. “Replacing light switches with dimmers not only aids in saving tons of electricity but also sets the atmosphere beautifully for the home!” 

Keiji Ashizawa: “Appreciate the abstract and embrace softness”

The CEO of his eponymous design firm and progressive furniture brand Ishinomaki Laboratory is not one to focus on trends. “In building architecture, it is rather risky to get caught up in trends. Even in Japan, which is known for scrap-and-build, people tend to use architecture as long as possible,” says Ashizawa.  

Nowadays, he is more keen to look into the past and mine it for inspiration. “I’m greatly influenced by the detailing, material handling, and spatial treatment of old Japanese architecture. I am also inspired by the level of abstraction that can be sensed in a garden that is as perfect as it has been for hundreds of years,” he says. While one can’t exactly reproduce the craftsmanship from the past today, Ashizawa says we can learn from them. “There are certain reasons and aesthetics that can only be passed on for a long time. This is the power of tradition.” 

He also sees an increased desire to create a softer tone for a space and a serious consideration about how long one will use it. “Through experience, I have found a combination of colours and materials that go well together, and have continued to refine and bring precision to this process. At first it seems simple, but when you look at each material, small details can make a big difference. I believe it’s all about living in it and using it for a long time. It is important to put all the effort into that.”