Interiors and product, shaped by the same design approach
Studio Atkinson brings together interiors and product within one considered approach. Furniture, lighting, textiles, wallpaper and accessories are developed in house, informed by years of interiors practice and a deep understanding of how people live.
Each piece is designed with clarity and care, with a focus on proportion, material and detail. Created to sit comfortably within a range of settings, the collection reflects the same warmth and quiet confidence found across the studio’s interior work.
Featured Collections
Susie Atkinson Interiors
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Commercial Interiors
A portfolio of commercial interiors designed with clarity and care, shaped by material, proportion and a considered understanding of how spaces are used.
Residential Interiors
A portfolio of residential interiors shaped by how people live, brought together with warmth, balance and a close attention to material, proportion and detail.
Journal
Studio Atkinson’s first printed fabric collection – the Woodland Rose
After over a year in development, we are delighted to introduce our first printed fabric collection, Woodland Rose. We often found that florals either felt traditional and decorative, or distinctly feminine. We wanted to create something that bridged this gap – a fabric that could move effortlessly between settings, and could feel smart and masculine in some contexts, or soft and feminine in others, depending on how it is used and the colourways chosen. To achieve this, we carefully and deliberately balanced the floral motif with an equally weighted stripe, and introduced bold colours to the striped part. This brings strength and structure to the design which helps in balancing the femininity. Likewise, the colour combinations were chosen to feel slightly unexpected, adding interest and a subtle tension that keeps the design from feeling overly decorative and helps to temper the “prettiness” of the floral. The collection is available in six colourways and is printed in England on a beautiful 100% linen cloth. We have already had great success with using Woodland Rose across a number of projects; for curtaining, headboards and upholstery – and more recently, paper-backed it in the Tobacco & Rust colourway and used it in a men’s study which looked absolutely fantastic!
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Atmosphere Comes First
Before any object is placed within a room, there is a sense of how it should feel. It is often difficult to define precisely, yet it is immediately recognisable. A space may feel calm or uplifting, warm or restrained, even before its details are fully understood. This underlying atmosphere is what gives an interior its presence. It is not created through decoration alone. Atmosphere is shaped by a combination of light, material and proportion, working together quietly. The way daylight moves across a surface, the softness of a textile, or the depth of a wall finish can influence how a room is experienced far more than any single piece of furniture. Light plays a central role. Softer, diffused light tends to create a sense of ease, allowing materials and colours to settle naturally. In the evening, a more considered approach becomes important. Low level lighting, placed with intention, brings a different quality to a space. It allows certain areas to recede while others come forward, creating a sense of depth and calm. Material contributes just as much. Natural surfaces carry a variation that feels instinctively comfortable. Timber that has been worn over time, linen with a slight irregularity, or stone that reflects light unevenly all add to the overall atmosphere. These qualities are subtle, but they shape how a room is perceived and how it is lived in. Colour is often approached in a similar way. Rather than making a statement, it tends to support the overall tone. Softer palettes can create continuity between spaces, allowing movement from one room to another to feel unforced. Even where colour is used more confidently, it is grounded through material and light, so that it sits comfortably within the space. There is also a relationship between atmosphere and restraint. When too many elements compete for attention, the overall feeling can become unsettled. Allowing certain pieces to stand back creates space for the room itself to come forward. This balance is not about removing character, but about ensuring that it is experienced clearly. The influence of place often sits quietly behind these decisions. A landscape, a coastline or even the quality of light in a particular location can inform the direction of a scheme. These references are rarely explicit, yet they shape the palette and material choices in a way that feels natural rather than imposed. Atmosphere is not something that can be added at the end of a project. It is present from the beginning and develops through each decision that follows. When considered carefully, it allows a space to feel composed and enduring, rather than finished too quickly.
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Designing with What Already Exists
Every space carries something of its own before any intervention begins. The proportions of a room, the way light enters, the materials that have aged over time, and often the objects already within it all contribute to a quiet foundation. Designing well begins with recognising this, rather than working against it. There is a natural tendency to approach a project with a defined idea of what it should become. In practice, the most considered interiors are shaped through response. Architecture, in particular, plays a central role. Ceiling height, window placement and the rhythm of a room set a framework that does not need to be reinterpreted, only understood. When these elements are respected, the space begins to feel resolved in a way that is difficult to replicate through decoration alone. Often, the starting point is something more personal. A painting, a piece of furniture, or a collection that already exists can quietly determine the direction of a scheme. Colour, material and tone can all be drawn from it, allowing the room to feel cohesive without appearing overly coordinated. These moments provide a sense of continuity, linking what was there before with what is introduced. Working within existing conditions also brings a certain clarity. Constraints, whether architectural or spatial, tend to refine decisions rather than limit them. In smaller rooms, or within listed buildings, there is a need to consider how each element functions as well as how it sits visually. Bespoke joinery, for example, can resolve practical requirements while remaining integrated within the overall composition. Nothing feels added unnecessarily, and the room retains a sense of balance. There is also a relationship between what remains and what is introduced. Antiques and existing pieces often carry a softness that newer elements benefit from. Contemporary furniture can bring definition and structure, while older objects introduce texture and irregularity. When the two are placed together with care, the result feels layered rather than styled. Light is another constant. It cannot be altered entirely, but it can be responded to. A room that receives softer, northern light may call for warmth in material and tone, while brighter spaces can accommodate contrast more easily. The intention is not to impose a mood, but to draw out what is already present. This approach allows a space to feel settled from the outset. It does not rely on statement or excess, but on alignment. Each decision sits within a broader context, and nothing feels separate from the whole. Designing with what already exists is, in many ways, an exercise in attention. It requires looking closely at what is there, understanding its qualities, and allowing those qualities to guide the process. The result is an interior that feels both considered and natural, as though it has always belonged.
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On Collecting, Not Completing
A home is rarely formed in a single moment. It is shaped gradually, through what is gathered, what is kept, and what is allowed to settle over time. There is often a tendency to approach interiors with a sense of completion. A room is designed, furnished and resolved, as though it has reached a final state. In practice, the spaces that feel most natural are those that have evolved more quietly. They reflect decisions made over time rather than at once. Collecting plays a central role in this. Not in the sense of accumulation, but in the act of choosing something because it resonates in that moment. An object may not have an obvious place, yet it can carry a sense of familiarity, or a connection to a particular time or place. Pieces gathered over time, perhaps found in different corners of the world or chosen during meaningful moments, begin to shape a home in a more personal way. Together, they contribute to its character and individuality, each one holding a quiet story. This approach allows a space to remain open. A single piece can shift the direction of a room. A table, a chair, or a textile may introduce a different tone or texture that gently rebalances what surrounds it. When everything is decided too early, there is less room for this kind of change, and the space can feel more fixed than intended. Antiques often sit comfortably within this way of thinking. They bring with them a sense of history and irregularity that cannot be replicated. Their value is not defined by rarity or age alone, but by the character they introduce. A worn surface, a softened edge, or a detail shaped by hand can anchor a room in a way that feels both grounded and interesting. Living with objects in this way also changes how they are used. A piece is not fixed in purpose. A table might become a desk, a trunk a bedside table, a ceramic vessel something both practical and decorative. These shifts are rarely planned, but they allow a home to respond more closely to daily life. There is also a quiet balance between old and new. Contemporary pieces can bring clarity and precision, while older elements offer depth and texture. When placed together with care, neither feels dominant. Instead, they create a sense of contrast that keeps a room from feeling resolved too quickly. What emerges over time is not a finished interior, but one that continues to evolve. Pieces are moved, replaced, or reinterpreted. Some remain for years, others fall away. The process is ongoing, and it is this sense of evolution that gives a home its character. To think of a space as something to be completed is to limit what it might become. When approached as something to be collected, it remains open, allowing each decision to contribute to a larger, more considered whole.
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