SPACES AS A LIVING PORTRAIT OF THE SOUL: A CONVERSATION WITH SOPHIE DRIES
Sophie Dries has carved a name for herself in the industry as a pioneering architect and artist who transforms spaces into unique portraits of her clients through an integrated approach to design that encompasses everything from the interior structure to custom furniture and artwork.
At the heart of her world-renowned practice is a great respect for material and traditional artisanal techniques that she combines with contemporary design elements to create indelible and emotive spaces that have become a trademark of her multidisciplinary studio based out of Paris and Milan.
Materia joins the multi-hyphenate in her sunlit Haussmannian apartment in Paris to discuss her humanist approach to design, her long standing support of craftsmanship, and what it takes for young designers to break boundaries and find their own distinctive voice in the field.
Prashant Ashoka: You talk about living spaces being a portrait of ourselves. Which areas of your own home do you naturally gravitate toward? What do these spaces say about your personality, your needs, and your approach to life?
Sophie Dries: My home is definitely a reflection of who I am. I respect heritage—the original features of my Parisian apartment, such as the molding, wooden floors, and sculpted marble fireplace—while also bringing in contemporary elements. I enjoy creating a contrast between historical details and modern design by integrating pieces from designers I admire and those in my community. I don’t want to live in a museum, so I mix in raw materials like concrete, steel, and plaster, breaking the hierarchy of what’s considered luxurious. This mirrors my approach to life—I embrace moving boundaries and redefining perceptions of value and beauty.
PA: And in this house, what’s your favorite room?
SD: Light is very important to me. In the morning, I gravitate to the dining room, which sometimes doubles as my studio. In the evening, I prefer the living room. I’ve installed linen sheers, handmade in the north of France, which filter the light beautifully and create a calming atmosphere—even though the apartment faces a busy boulevard. And of course, the fireplace is a special place; when it’s lit, it feels like I’m in the countryside.
“I enjoy creating a contrast between historical details and modern design by integrating pieces from designers I admire and those in my community. I don’t want to live in a museum, so I mix in raw materials like concrete, steel, and plaster, breaking the hierarchy of what’s considered luxurious. This mirrors my approach to life—I embrace moving boundaries and redefining perceptions of value and beauty.”
– Sophie Dries
PA: Do you have any advice on how people can organically evolve their space as they move through different chapters of life?
SD: I believe people should be able to adapt their interiors over time. When designing, I consider how a space can evolve—placing piping for potential future bathrooms, for example, or ensuring a room can transition from a bedroom to a study. I encourage clients to experiment—try a piece of furniture, live with it, then add more over time. That’s why I don’t shoot interiors immediately after completion; I want my clients to experience and shape their space before it’s captured.
One thing I often include is corner seating—small benches or nooks in kitchens or entrances. Clients often doubt they’ll use them, but they end up becoming favorite spots for reading emails, having coffee, or doing homework. It changes how they engage with their home.
PA: You emphasize the importance of carving out non-functional space in living environments. How does this affect how we think and live?
SD: We are obsessed with function and justification in modern life, but true luxury starts when you allow for wasted space. If every part of a home is dedicated to storage or utility, it’s no longer luxurious. The same applies to urban planning—a square with a fountain serves no direct function, yet it’s invaluable. Similarly, in interiors, leaving some areas open-ended allows people to make the space their own, fostering creativity and adaptability.
PA: Craftsmanship is central to your work. How have your collaborations with artisans shaped your design approach?
SD: This is the heart of what I do. My work wouldn’t exist without the artisans who bring it to life. My process often starts with visiting workshops—whether in ceramics, Murano glass, metalwork, or weaving—where I observe textures, techniques, and materials. Instead of arriving with a predefined drawing, I let the craft inspire the design, pushing traditional techniques in new directions.
Luxury design plays a role in preserving craft traditions. When clients meet the artisans behind their pieces and understand the time and skill involved, they gain a new appreciation for the value of handmade objects.
PA: Which upcoming projects are you most excited about?
SD: I’m designing an art gallery in Tokyo, a dream project for me. Japan is a leader in craftsmanship, and designing an art space—where volume and materials shape emotion—is incredibly fulfilling. The gallery features raw, traditional materials: a wooden-paved floor, corten steel arches, and furniture crafted in Japan. It opens at the end of March.
I’m also launching a handmade linen collection in Milan, and I just introduced a series of mirrors in New York, crafted from polished inox and bronze. The welding, which is typically hidden, is highlighted as a decorative element—a play on the idea of scars as beauty.
In October, I will represent France at a special exhibition celebrating the 100th anniversary of the Art Deco movement, alongside designers from France and Brazil. We’ll be presenting what we envision as the ‘embassy of the future’ during Design Miami and Art Basel Paris.
PA: This year alone, you’ve worked in New York, Paris, Milan, and Tokyo. How do you navigate such diverse creative markets? Does it ever feel disorienting? And how do you replenish yourself creatively?
SD: Each destination has its own identity, but the global design community is deeply connected by a shared love of craft. Design is a universal language—when working with artisans, we communicate through drawings, samples, and gestures rather than words.
Traveling and discovering new materials, techniques, and cultures is what fuels my creativity. For instance, last year, I visited Algeria to research traditional crafts for a 2026 biennale. Every civilization has its own take on textiles, ceramics, wood, and metalwork, and these traditions inspire my work in unexpected ways.
“I admire past masters like those from the 1930s and 40s, but I wouldn’t simply recreate their work. Instead, I push myself to innovate, because that’s where meaningful design emerges.”
– Sophie Dries
PA: While many designers establish a signature style, your studio is defined by complexity and experimentation. Do you have any advice for young designers carving out their niche?
SD: I didn’t take the easy path. Many designers create work with broad appeal, but my pieces are more polarizing—you either love them or don’t understand them right away. I focus on radical textures and experimental forms rather than familiar, validated aesthetics.
For young designers, I would say: don’t create something that’s already been done. Life is short. What legacy will you leave? Of course, I admire past masters like those from the 1930s and 40s, but I wouldn’t simply recreate their work. Instead, I push myself to innovate, because that’s where meaningful design emerges.
