Giuseppe Porcelli Redefines Modern Maximalism Through Craft, History, and Bold Design

Giuseppe Porcelli, architect and designer, shares insights into his journey from bespoke interior projects to launching his own furniture collection. With a keen eye for blending maximalist interiors and refined minimalism inspired by 1930s and ’40s French design, Giuseppe explores how materials like bamboo, brass, and tortoiseshell-effect plexiglass shape his aesthetic. He discusses the deeply personal inspiration behind his latest installation—a modern reinterpretation of the traditional “Garçonnière” from a gay perspective—highlighting the emotional and cultural layers embedded in his work. This candid conversation reveals Giuseppe’s passion for craftsmanship, storytelling, and creating immersive spaces that resonate beyond their walls.

WHITEWALL: Congratulations on your new furniture collection! What was the idea behind the pieces themselves? Did you have a particular shape or feeling in mind?

GIUSEPPE PORCELLI: I consider myself a maximalist when it comes to interiors, so this was a bit of an exercise to design something cleaner and more restrained. The goal was to create pieces that would work within my interiors but also appeal to other designers or clients with different tastes.

“I consider myself a maximalist when it comes to interiors,”

Giuseppe Porcelli

I wanted to focus on a side of my design that’s more minimal, but still elegant. I looked particularly at French design from the 1930s–’40s. That period has a classical elegance but a clean aesthetic, which felt like my kind of minimalism—although I’m still not a fan of the word “minimalism” itself!

WW: I love the contrast you create in your interiors. Could you tell me about the materials and finishes you used in this collection?

GP: The collection uses a limited but rich palette. Bamboo is a key material, alongside metals — mostly brass, but also steel. I like to play with contrasts, such as pairing brushed metal surfaces with glossy finishes to create balance.

I also incorporated tortoiseshell-effect plexiglass, which is a material I adore. It’s an ethical alternative to actual tortoiseshell, which is obviously problematic. The plastic version has this unique beauty and depth, more so than the real material in some ways. It fits perfectly with the refined yet playful spirit of the collection.

WW: And how did you want people to experience these pieces? It’s not just furniture, right—it’s about your approach to interiors as well?

GP: Exactly. The collection was shown within a room that doubles as my office, which I styled as a “garçonnière.” This concept intrigued me because traditionally it’s a male bachelor’s room, a private space for love affairs. As a gay man, I wanted to reimagine this from my own perspective—a space to decorate in a personal way reflecting taste as well as status as well as a place for private, intimate meetings.

The room’s design was inspired by Renzo Mongiardino, a master of scenography. I also drew from homoerotic art traditions—classical sculptures, 18th-century academic representations of the male body, and modern reinterpretations like those by Duncan Grant or contemporary artist Alex Foxton. These elements came together to form a space of gay men’s sensibilities.

Hospitable, Immersive, and Inspired Design

WW: What kinds of projects do you enjoy working on the most?

GP: Hospitality is a favorite. My first big project was designing two floors of the Arts Club in London. I love hospitality because you have to imagine many different people using the space—unlike residential, which is about one client.

Hospitality allows me to think like a set designer, creating immersive experiences where people feel transported. Especially with members’ clubs and restaurants popping up all over, there’s a lot of competition to create unique, special places. It’s challenging but fun.

WW: Your style is often described as maximalist, romantic, and sumptuous—very warm and inviting. But as you said, most people wouldn’t live in those spaces day to day. What do you think draws people to your designs?

GP: I think it’s the experience. People might not want to live surrounded by such bold decoration, but for an evening or a moment, they want to be in a space that feels different—like stepping into a movie set or time machine. My interiors are niche, tailored for a specific clientele, but they offer an escape and a story.

“Hospitality allows me to think like a set designer, creating immersive experiences where people feel transported,”

Giuseppe Porcelli

WW: You mentioned your love for certain historical periods like Versailles and French design. How do you balance historical inspiration with contemporary needs?

GP: I’m inspired by decadence and history but don’t want to replicate the past exactly. I like to take elements of Classicism, for example, from the Regency style or French Empire, and mix them with details from another era, such as the 1960s or 1970s to create something fresh and unexpected and more contemporary.

I love mixing geometry with florals, big with small, light with dark. It’s about balance and feeling. Sometimes I have to remove things that don’t work and add others. Like putting together an outfit—you try, adjust, and see what clicks.

WW: Growing up in southern Italy, did your upbringing influence your design sensibilities?

GP: Absolutely. I grew up surrounded by antiques, which in my region symbolizes family heritage and continuity. My mother even let me pick the wallpaper in my bedroom when I was a child, which was unusual but definitely a first start in shaping my taste.

There’s a tradition of craftsmanship and manufacturing in the south, and those early experiences shaped my love for objects with history and meaning.

WW: You mentioned contemporary artists like Alex Foxton. How do you incorporate art into your interiors?

GP: I love the interplay of antiques with contemporary art, much like in the house in Paris of Saint Laurent and Pierre Bergé, designed by Jacques Grange. Art serves as a final, impactful layer that brings spaces to life and signals that life is moving forward, not stuck in the past.

“I love the interplay of antiques with contemporary art,”

Giuseppe Porcelli

WW: You also mentioned surprising details in your finishes, like cording on baseboards. Can you talk about that?

GP: Yes, I love small, decorative details that add unexpected texture and craftsmanship. For example, using fabric trims or fringes on walls or baseboards—it’s unusual nowadays but brings so much character. It’s a bit old-fashioned but very charming.