Michele Tufigno: 'Social media is a fantastic tool. It allows me to ‘visit’ spaces and places far removed from everyday reality'

Michele Tufigno is an interior decorator and researcher, focused primarily on historic buildings, art consultancy and curation within the spheres of publishing and the arts.

1. What’s been the most defining moment in your career so far?

I’d say there have been two so far: Landing my very first commission, the redecoration of a number of rooms at the Casino Maltese in Valletta, and producing two Malta-themed spreads for international design publication Cabana Magazine.

The Casino Maltese was an incredible learning curve – a historic building, and one which I’ve loved since I was a boy, was my debut project and one which consumed me on all fronts. The sheer scale of it (the first room I did had a surface area of 150sq.m), the COVID pandemic and Brexit all made it extremely challenging yet incredibly rewarding.

As for Cabana, it was an absolute honour to work with photographer Miguel Flores Vianna and Suzanne and Jamie Sharp on presenting Malta to a very discerning audience. From hidden baroque libraries to modernist seaside villas and 19th century orientalist architecture, we made sure to focus on the sheer beauty Malta can offer when it’s allowed to. And rumour has it King Charles loved the Villa Guardamangia spread too.

2. As an artist, how do you navigate the world and speed of social media?

Social media is a fantastic tool. It allows me to ‘visit’ spaces and places far removed from everyday reality, discovering rooms and items unavailable to us in Malta. However, I have learned to engage with it selectively and intentionally. The pace and fleeting nature of social media can often feel at odds with the slow, meticulous process of researching and restoring a historic space. I see social media as a way to educate and inspire rather than just a means for quick visibility.

I use it to share insights into my work: whether it’s the layering of historical colour palettes, the craftsmanship behind a period chair, or the way natural light interacts with a newly-laid cement tile floor. It’s also a platform for connecting with like-minded professionals and artisans across the world. While trends come and go, and I’m not generally one to follow them, social media can serve as a place for thoughtful dialogue about history, craftsmanship, and design. I believe that by maintaining authenticity and depth in what I share, I can bridge the gap between the digital world and the tangible, enduring beauty of historic interiors.

3. Do you consider artificial intelligence a threat to your career, or an opportunity?

Artificial intelligence is both a challenge and an opportunity. While AI can generate impressive design simulations and provide access to vast archives of historical references, it lacks the human touch, intuition, and emotional depth that true interior decoration requires. My work is deeply personal and rooted in sensory experiences – how a fabric feels, how a room’s patina tells a story, how colours shift with changing light. These are aspects AI cannot replicate authentically. That said, I do see AI as a useful tool for research, organisation, and even ideation. AI-generated models or data-driven insights can aid in exploring possibilities quickly, but they will never replace the craftsmanship, historical knowledge, and the nuanced decision-making required to restore and design historically significant spaces. AI is a tool, not a replacement; it can enhance, but never replace, the depth of human creativity and instinct.

4. How do you stay motivated and inspired, especially during tough times or when the work feels hard?

Motivation and inspiration are deeply connected to curiosity and passion for what I do. When work feels challenging, I return to the fundamental reasons why I became a decorator after ten years as a practicing lawyer: the love of uncovering, and many times inventing, narratives within a space, the joy of restoring details that have been forgotten, and the sheer pleasure in seeing a place come back to life. Travel also plays a huge role in maintaining inspiration. Visiting historic houses, museums, or even wandering through an old city allows me to engage with architecture and design in a way that is both tactile and immersive.

5. How do you balance your creative instincts with the expectations of your audience or collaborators?

Balancing creative instincts with client expectations is a dialogue rather than a compromise. My work is deeply personal, but it is also about understanding the history of a space and the needs of those who will live in it. I always say that a ‘house tells you what to do with it’, rather than the other way round. It’s often a question of striking the right balance between respect for the history of a room and the necessities of contemporary living.

Finding common ground often involves presenting options; showing how a historically accurate colour palette can be subtly adapted to modern sensibilities, or how antique furniture can be paired with contemporary elements to create a balanced aesthetic. Collaboration with artisans and craftspeople also influences my approach, and their expertise often informs and enhances my creative vision. Ultimately, my goal is to create spaces that feel both deeply rooted in history and comfortable, making the past a living, breathing part of contemporary life.

6. How do you approach a new project? Do you have a specific process or routine you follow?

Every single project begins in the same way – research. Whether it is a private residence, a historic landmark, or a single-room restoration, my first step is to understand the history of the space, its architecture, previous owners, original materials, and intended function. This often involves consulting archives, studying old photographs, or even analysing layers of paint to uncover original colour schemes (hence the surgeon’s blade I always carry in my bag). Once I have a strong historical foundation, I begin designing with colour, texture, and materials at the forefront. I work closely with skilled artisans to ensure that every element, from plasterwork to upholstery, is executed with precision and respect for tradition (no aluminium corners for me). I also consider how natural light interacts with a space, how it affects colours and textures, and how the flow of a room can be enhanced by carefully placed furniture and art. While research informs my work, intuition plays a huge role. No two spaces are ever alike.

7. Can you let us in on some of the future projects, works?

I am currently working on the redecoration of a number of spaces in Mdina, some private, others public, with my typical focus on researching and reintroducing historic Maltese colour palettes, apart from designing a soon to be launched cement tile capsule collection in collaboration with Malta Tiles and project managing an extremely exciting exhibition for City of Art entitled ‘Blow-Up’ which is slated to open in November 2025.

Then there’s a Christmas trunk show with carefully curated items I’ve picked up during my travels, a masterclass that will focus on historic colour theory injecting beauty into everyday life, and my ongoing thesis research on domestic interiors in 19th century Malta. ‘You’ll rest when you’re dead’, as my college priest once told me.

Extra round

Who are your biggest influences, and how have they shaped your work?

I’d say that my most defining influences have been Renzo Mongiardino, the Tangier decorators’ set and their colourful take on North African architecture and maximalist par excellence Tony Duquette. Their use of colour, their multilayered approach to narrative left an indelibile mark on me. Decorators tell stories, and we make up fictional histories for rooms and imaginary lives for those who inhabit them. And then there’s Perit Adrian Mamo who taught me an invaluable maxim: We are not the owners of an old house; we are merely custodians, holding it for a limited time, until we pass it onto the next generation.

This article is supported by Arts Council Malta.