Bronwyn Turton

I spent my early years of working in fashion design. Then I married a builder and it fell into place: I got involved in projects, then some speculative work and it grew very organically. Having that design background meant transitioning into interiors was easy. I had an understanding of how projects run, timeframes, etc. I went through the Nanette Cameron School of Interior Design. I immersed myself in supplier events and training, and being on the job, working with architects and construction companies was great training.

I suppose I was my first client. It was our first family home in 1986. In those days, you didn’t have the same access to the design world that we have now in New Zealand. There were only magazines. And New Zealand didn’t import the things we import now, so you were limited to wool carpets and tiles on the floor. Pink and grey were the colours in fashion. Since then, my clients have grown organically and now most of my work is referrals and repeat clients. I usually have about 15 to 25 projects at once, all at different scales and stages.

I’m more of a natural designer - grounded materials, natural pieces and colour palette. Wool carpets are a must-have and I love stone on walls and floors. If a home has an architectural style already, I love to work with it and make it better, rather than change it. But even with a very contemporary home, I would probably bring in nature to it.

I’m seeing now that a lot of clients are not swayed by trends. They want to feel warm, grounded and the design to be practical for them. Listening to your clients is important. Their homes have to be a reflection of who they are, so getting to know them, how they live and selecting design, materials, products around that brief is the journey.

I am always looking forward to where we’ll be in 10 years. I was in Milan last year and there was a lot of softness. I think we’re going towards more champagne hues, bronzes, warmth, metallic finishes. At the moment there’s oxblood red, sapphire blues around, which look fabulous with wood and elevate spaces, but we will be careful where we use them. Our spaces will become more quiet, less cluttered. Bedrooms are becoming simplistic; one decor cushion instead of many. A simple kitchen benchtop without too much on that amazing surface is nice.

I’ve always admired the design aesthetics and architect Vincent Van Duysen — his quiet luxury, warm minimalism, and use of natural earthy palettes with tactile materials align closely with my own design. However, my true heroes are the young adults we employed over a 10-year period who first joined us as students and have since gone on to achieve incredible things: Matt South of Matt South Interiors, with an exceptional attention to detail that is truly beyond compare; Jordyn Baldwyn — a designer with a style entirely her own; Jordie Gleeson — now working for a London interior design firm on prestigious international projects; Brigitte Rowe; and my daughter, Emma Fink — who now works closely alongside me on all projects. Without her, I couldn’t manage the scale and demands of work at Turton Interiors.

This renovation of a house in Hamilton took more than 10 months. I wanted to create spaces that felt contemporary yet warm and inviting with a palette of soft tones and honed textures. I specified Sensa, Taj Mahal in suede finish in the kitchen and it was a fantastic choice. It has a timeless elegant look, as well as being heat-resistant and scratch-resistant. Stepping the large benchtop elevated the kitchen. Dekton, Sirius was the perfect product to select for the workable benchtop surfaces in the scullery and laundry, due to the hard and strong properties it is celebrated for. The colour and texture worked well with the other textures and colours in the interior.

One of the most challenging jobs I’ve completed was a huge renovation project with plans done by a draughtsperson. The plans were hand drawn and the whole job was very fluid. The clients wanted a grand home, very American in style, like a high-end lodge. There was detailing on the ceilings, the walls, and the floors. Everything had to line up, so I had to think a lot through. I lived and breathed that job for two and a half years. It really pushed my boundaries, but it was also pretty amazing and I learned a lot.

I’d really love to do a lodge. A beautiful weekend place to stay with all the beautiful interior things that people can immerse themselves in. I’d use linens, textures that are designed to be touched and held. That would be my dream job.

For me, sustainability is not changing your spaces all the time. It’s about keeping your interior the same for 15 years, without having to change everything. Most clients are wanting sustainable products, items that they are going to love in 10 years time and provide longevity.