Opening the doors to her Cathedral Street Studio, interior designer and former editor of Vogue, Jillian Dinkel, layers form, light and texture to create a space that feels both storied and effortless.
The refined, light-filled studio reflects Dinkel’s award-winning approach to heritage interiors, where her curator’s eye transforms period homes by layering tradition with contemporary elegance. Dinkel is celebrated for her meticulous attention to detail and intuitive understanding of how people live.
In conversation with est, she shares how the studio came to life—from reimagining a former gallery space to designing for herself—and how each detail, from custom joinery to curated art, is underpinned by a deep knowing of how she and her team desired to experience the space each day. The result is a tactile, expressive environment that’s as considered as the work it inspires.
The Studio’s signature JD door handle in aged brass and a wall dotted with sources of inspiration and work greet guests into the space.
It’s a pleasure to speak with you about your space. Firstly, it would be great to understand what your day to day looks like in terms of how you experience the space.
Mornings typically begin with time set aside to connect with the team on project updates, client needs and scheduling. Then I’m off to meetings—whether that’s a site visit or checking in with one of our joiners or upholsterers as custom pieces are being fabricated. Once I’m back in the studio, it’s time for lunch; usually something from Cali Press or our favourite local, Flour and Stone. I try to take a moment to enjoy the lovely light in our front meeting room, which is separated from our working space by a burgundy velvet curtain.
Afternoons are for either presenting designs to clients or immersing myself in creative work. We often gather around the meeting table with trays of samples and fabric swatches from our materials library, pulling elements together that speak to the unique identity of each project. Our wall-to-wall pinboards help us map a visual narrative, and our USM sideboard holds an overflowing collection of fabrics, wallpaper and paint swatches.
Most days, my Italian greyhound Miller is curled up beside me. We’ll take a quick walk in the Domain when we need fresh air. I live in Manly and drive in, so the commute gives me time to switch gears in and out of work mode.
How long have you been in this studio and what drew you to it initially?
We’ve been in the Cathedral Street studio for just over a year. After moving the team to Mosman when my daughter was born, I really missed the city’s energy. As a New Yorker, I’ve always drawn inspiration from the rhythm and dynamics of urban life.
This was actually the first space I viewed—and I knew right away. I often have these gut instincts about a place. The heritage façade and proportions were both exactly what I was looking for. It felt like a very natural fit.
Warm hues create an effortless place to gather and collaborate, featuring the Apparatus Tassel 19 pendant in oil rubbed bronze and mold blown glass, alongside a custom USM unit in beige and the Michelle chair in Adelaide Smoke Velvet and Black Chrome.
In the kitchen and powder room, the design team started from scratch, incorporating hand-painted joinery, a fabric skirt, and Calacatta Rosa stone for a warm, feminine touch.
Talk us through your reimagining of the space, how did you approach the redesign and what informed the material and colour palette?
The space was formerly an art gallery—essentially a white box—so it gave me a blank slate to work with. We reinstated the period interior architecture that had been stripped out over time: decorative cornices, skirting, and a new marble-framed opening between the meeting and workspaces to balance the heritage with a contemporary detail.
We redesigned the atrium with Calacatta Viola floor tiles and added a floor-to-ceiling mirror to bounce light through the rear of the studio. In the kitchen and powder room, we started from scratch, incorporating hand-painted joinery, a fabric skirt, and Calacatta Rosa stone for a warm, feminine touch. A small but special moment saw us repurpose an old de Gournay wallpaper sample as the face of a powder room cabinet. Nothing beautiful should ever go to waste.
Can you talk to the experience of being your own client?
It was wonderful to work alongside our Senior Designer, Kelly Doyle, to create a world for our team to work in—but also to share with our clients. It’s so helpful to express our favourite details or makers by referencing things we have in the space. We were very intentional in creating a sense of flow and thinking about how the space would be experienced. We designed two meeting tables and our floor-to-ceiling steel shelving—which was fun to work with our makers to bring to life.
It was a joy—though, like most designers would attest, I’m my toughest client. I collaborated closely with Kelly to shape a space that not only reflects our aesthetic but supports the way we work and host clients.
We designed two custom meeting tables and a steel shelving system to really get our DNA into the decorative aspects of the space. It’s been incredibly helpful to walk clients through and show them how finishes will look in situ or share pieces from our favourite makers. It’s a living example of how we layer detail and intention into homes.
The Bollo armchair and Tenero Mohair Area rug alongside the Michelle chair and main table for guests and team to meet and collaborate.
How did you approach the curation of furniture, objects and art?
After designing our custom pieces, with furniture maker Tim Noone and metalworker Kora Design, we placed some of our go-to brands and suppliers—a Bollo armchair from Fred International, SP01 chairs from Space Furniture, Apparatus pendant via Criteria, and lighting from Montauk Lighting Co and Gineico.
There are also personal pieces that have followed me over time, like our beige USM storage (yes, a bit of a designer staple, but it works hard to earn its place) and art from my own collection. The aim was to create a tactile, expressive space that feels collected and cohesive.
What are some of your favourite details and pieces?
The Apparatus Tassel pendant casts the most beautiful warm glow—enjoyed more in winter as the days shorten. The first whiff of Trudon’s Ernesto in the air as I walk in the studio each morning. I also love the oyster oil painting by Lucy Roleff, which I bought years ago.
Anything you’d have done differently, or have in mind for the future?
The biggest challenge was the speed of a commercial renovation. The timeline was tight, and that doesn’t leave much room for perfectionist tweaks. In our residential work, we’re used to a much more measured pace, allowing space for me to consider every detail. But I’m so proud of what we created here. The studio feels personal and layered, and a true extension of our values.
