Interview: Interiors Guru Brigitta Spinocchia Freund
THE WICK: Talk us through a typical Monday.
Brigitta Spinocchia Freund: Monday generally starts with my Apple Detox Tea, which has become a non-negotiable part of my routine. After the school run and chatting with my children, I shift into a mindset that balances the week’s business and family needs. I work closely with the entire Spinocchia-Freund team, preparing for meetings and upcoming projects. Depending on the stage of a project and deadlines, the day often involves reprioritising, ensuring everything is on track for a productive week ahead. Lately, my schedule has been filled with site visits, art fairs, openings, photoshoots, and sourcing trips. By late afternoon, we gather at home for an early supper – a moment to slow down, reconnect, and enjoy time together as a family.
TW: You are the founder and creative director of Spinocchia Freund, a London-based Interior Architecture and Interior Design practice. How are you seeing the fields of art and architecture merge?
BSF:
Art and architecture are always in dialogue, each shaping the emotion and experience of a space. Traditional architecture evokes a certain feeling, but this can shift dramatically depending on the art within – emerging works, for example, can bring a sense of dynamism while still feeling timeless. I see clients wanting interiors that feel deeply personal, filled with pieces that hold meaning. That means commissioning site-specific artworks, sourcing collectible design, and considering how architecture can frame and elevate the experience of both. When we design the interior architecture of a project, we think about how to accommodate artworks in a way that enhances both the space and the piece itself – whether that’s through scale, presence, or the interplay of light and materials.
That might mean commissioning site-specific works; we recently commissioned a hand-painted ceiling art by Abel Macias for a London client and created the domed ceiling to house the painting, the projects reflects the client’s passion for both classical and contemporary art. It’s this kind of intentional connection, where architecture, design, and art work in harmony that creates environments with real soul.
TW: Who was your biggest inspiration growing up?
BSF:
My parents, without question, were my biggest inspiration growing up. Our home was a constant blend of cultures and influences – my mother is Greek, my father Italian, and I grew up speaking Greek at home. We spent the early years of my life in Turkey, where artisanal and collectible pieces weren’t just objects; they were part of everyday life. My parents ran a store – first in Istanbul, then in Dorset – filled with beautifully crafted Eastern European pieces sourced from local artisans.
Some of my earliest memories are of wandering through antique markets and bazaars, instinctively drawn to objects with history and character. My parents would always speak to the makers and sellers, asking about their techniques, haggling, and uncovering the stories behind each piece. That experience shaped me entirely – design wasn’t just something to appreciate; it was a way of life. Our home was in a constant state of curated chaos, brimming with fascinating, collectible pieces. That passion for craftsmanship and storytelling through objects instilled in me the instinct to collect, curate, and create from a very young age.
TW: You oscillate between the creative spheres of interiors and arts as your brand sources and curates art and collectible furniture alongside unique interiors. Who would be your dream collaborator for a future project?
BSF:
James Turrell would undoubtedly be a dream collaborator for a large-scale project. The emotional resonance of his work – how it lingers with you long after experiencing it – has had a profound impact on me personally. I’m always drawn to collaborations that unite different creative disciplines, and working with an artist like Turrell, whose mastery of light and spatial perception transforms how we engage with space, would be extraordinary.
Another dream collaborator would be Miroslaw Balka. His Turbine Hall installation left an indelible mark on me; the emotional intensity and raw power of that piece were unforgettable. The idea of creating something with Balka, imbued with that same emotional depth, is incredibly compelling – especially if there were an opportunity to juxtapose his work with Turrell’s in an unexpected way.
And if I could dream even bigger, collaborating with Tadao Ando on a project inspired by Naoshima, Japan’s legendary Art Island, would be the ultimate creative ambition. Ando’s ability to fuse architecture, nature, and art into one cohesive, immersive experience is something I’ve long admired and would love to explore.
“Art and architecture are always in dialogue, each shaping the emotion and experience of a space.”
