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Dimorestudio principals Britt Moran and Emiliano Salci turned a 4,300-square-foot upper-floor apartment on London’s Eaton Square into a layered, Italian-inflected home. The almost 10-year renovation keeps Belgravia’s traditional architecture visible while using Murano glass, saturated greens, silk, wallpaper, antique furniture and sharply chosen modern pieces to replace a bland starting point with a theatrical but livable interior.
What happened to the Eaton Square apartment?
The apartment sits on Eaton Square in Belgravia, where Georgian proportions, cornicing and other traditional details remain part of the setting. Architectural Digest’s feature, published December 17, 2025, identifies the designers as Britt Moran and Emiliano Salci, principals of Dimorestudio, and gives the residence a reported area of 4,300 square feet.
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The renovation took almost 10 years. The feature attributes the unusually long process partly to the pandemic and partly to planning rules imposed by the Grosvenor Estate. That timeline belongs to this particular London project; it is not evidence of a typical renovation duration.
Moran described the starting condition with unusual bluntness: “The space was very ‘real estate,’ ” and “It was a plain box with very traditional architectural elements.” The answer was not to erase those elements or to decorate them with a single period style. Dimorestudio built a sequence of rooms in which Italian-made pieces, vintage finds, contemporary studio designs, textiles, porcelain, art and expressive lighting continually change the mood.
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Who designed the Eaton Square apartment?
Dimorestudio’s Moran and Salci led the design. Moran said, “The collaboration started almost by chance,” and that it began “from simple interest in a lamp they had seen. That small spark quickly grew into this full project.” The resulting interior was sourced and made with a handpicked team of craftspeople in Italy, although the designers did not describe it as a literal Italian period reconstruction.
Salci’s own description is more useful than a national-style label: “Our aesthetic is not so much Milanese, it’s more Tuscan.” His connection is personal—he grew up in Tuscany—and it also explains the apartment’s balance of cultivated color, old objects, rich surfaces and carefully controlled drama.
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How Dimorestudio made a traditional flat feel Italian
Layering instead of a single theme
The rooms rely on accumulation. Chinese porcelains sit alongside Murano lighting; gold cushions and opulent curtains soften harder architectural lines; midcentury furniture shares space with newly designed pieces. Nothing depends on one matching suite. The visual continuity comes from the designers’ editing of scale, sheen, pattern and color.
Greens derived from Giorgio Vasari
Green is a recurring thread rather than a single feature wall. Salci said, “We incorporated greens inspired by Vasari throughout this apartment in a subtle but intentional way—in textiles, furniture, and decorative details.” The color appears as upholstery, painted or covered surfaces and small accents, allowing the rooms to relate without becoming monochrome.
Space treated as a sequence of details
Moran named Carlo Scarpa as a major reference: “Scarpa is a wonderful reference in terms of use of space,” and, “He considered everything; every tiny detail.” In Eaton Square, that attitude shows in transitions—framed wallpaper panels, a mirrored screen, a carefully selected lamp at the end of a sightline, or a piece of marble that changes how a compact room catches light.
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What furniture and lighting are in the Dimorestudio London flat?
The following room-by-room inventory is based on the objects and finishes identified in Architectural Digest’s feature. Several are vintage or bespoke works, so they should be understood as design references rather than confirmed current retail listings.
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| Room | Named pieces and finishes | How they shape the room |
|---|---|---|
| Living room | Fromental wallpaper panels on Sikkens-painted walls; Luigi Caccia Dominioni for Azucena LTE 10 Doppio Pallone floor lamp; ISA Bergamo armchair in Dedar fabric; antique Chinese embroidered silk panel; vintage Pierluigi Colli sideboard; Dimoremilano mirrored screen; Gabriella Crespi Fungo lamp; Dimoremilano Ignazio coffee table; Sciura armchairs in Taroni silk; Rovezzano fabric; Persian rug from Essie Carpets; antique Murano glass sconces by Venini | A dense mix of pattern, reflection, silk and warm glass that makes the formal room feel collected rather than showroom-perfect. |
| Dining room | Campanino 900 chairs by Fratelli Levaggi; Dimoremilano Campeggio table; 1956 Antibes candleholder by Gio Ponti for Lino Sabattini; multicolored Murano glass ceiling light by Venini | The undulating ceiling fixture supplies the room’s dramatic centerpiece, while the table and chairs keep the composition usable. |
| Kitchen | Dimoremilano 047 ceiling lamp; Italian apothecary jars; Carrara marble; 1960s stools by Johannes Andersen | Practical materials and vintage seating prevent the kitchen from reading as a purely decorative set. |
| Entry and guest bath | Barovier & Toso entry sconces; Shogun sconce by Woka; Osvaldo Borsani mirror; yellow marble in the guest bathroom | Reflective glass, mirror and yellow stone create a vivid arrival sequence and a jewel-box bathroom. |
| Primary bedroom | Custom headboard; FontanaArte hanging light; Dimoremilano Panchina bench; Tai Ping silk carpet; Tridente lounge chair by Lina Bo Bardi and Giancarlo Palanti in Dimoremilano fabric; Osvaldo Borsani coffee table; Wall&decò wall covering; Lindsey Adelman Cherry Bomb Fringe light; Paavo Tynell table lamp; vintage Gabriella Crespi Plurimi chest | Soft textiles and low, sculptural furniture make the bedroom layered and intimate while several light sources keep it from feeling flat. |
| Other bedrooms and rooms | Custom wicker-fronted wardrobes; Biagio lamp by Afra and Tobia Scarpa; guest-room wardrobe covered in Backhausen fabric; Josef Frank floor lamp; FontanaArte sconce; Edmond Spence headboard; Jim Thompson satin; six Murano glass sconces by Stilnovo; Hans-Agne Jakobsson pendant lamps; Sorensen leather | Each room receives its own material emphasis, but the recurring vintage lighting and tactile fabrics maintain the apartment-wide rhythm. |
Living room: wallpaper, silk and reflective surfaces
The living room demonstrates the project’s central method most clearly. Fromental wallpaper panels are framed against Sikkens-painted walls, giving a decorative surface the discipline of architecture. An antique Chinese embroidered silk panel introduces age and handwork, while a vintage Pierluigi Colli sideboard adds a strong horizontal line.
Furniture moves between eras and makers. The Luigi Caccia Dominioni for Azucena LTE 10 Doppio Pallone floor lamp and Gabriella Crespi Fungo lamp bring sculptural 20th-century forms; the ISA Bergamo armchair is upholstered in Dedar fabric; and Dimoremilano’s mirrored screen multiplies light and pattern. The Ignazio coffee table and Sciura armchairs, covered in Taroni silk, continue the studio’s own vocabulary. Rovezzano fabric, a Persian rug from Essie Carpets and antique Venini Murano sconces supply texture at lower and peripheral levels, so the room does not depend on one spectacular object.
Dining room: the Murano ceiling becomes the architecture
Campanino 900 chairs by Fratelli Levaggi surround Dimoremilano’s Campeggio table. On the tabletop is Gio Ponti’s 1956 Antibes candleholder for Lino Sabattini. Above it hangs a multicolored, undulating Murano glass ceiling light by Venini, described in the feature as a dramatic statement.
Here the lighting is not a finishing touch. The irregular glass form gives the ceiling a visual center and introduces movement over an otherwise orderly arrangement of table and chairs. The lesson is specific: a statement fixture works because the surrounding pieces provide a calm, legible frame for it.
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Kitchen, entry and guest bath: practical rooms with theatrical details
The kitchen pairs Dimoremilano’s 047 ceiling lamp with Italian apothecary jars, Carrara marble and 1960s Johannes Andersen stools. Those details combine working storage, a durable stone surface and period seating rather than making the room a purely ornamental annex to the reception rooms.
Barovier & Toso sconces mark the entry. In the yellow-marble guest bath, a Shogun sconce by Woka is paired with an Osvaldo Borsani mirror. The saturated stone and reflected light create a strong identity in a small footprint, showing how the apartment’s mood is carried into circulation and service spaces.
Bedrooms: softer materials, the same visual discipline
The primary bedroom is built around a custom headboard, FontanaArte hanging light, Dimoremilano Panchina bench and Tai Ping silk carpet. The Tridente lounge chair by Lina Bo Bardi and Giancarlo Palanti is upholstered in Dimoremilano fabric, beside an Osvaldo Borsani coffee table. Wall&decò wall covering, Lindsey Adelman’s Cherry Bomb Fringe fixture, a Paavo Tynell table lamp and a vintage Gabriella Crespi Plurimi chest create several distinct heights and light levels.
Elsewhere, custom wicker-fronted wardrobes, an Afra and Tobia Scarpa Biagio lamp, a Backhausen-covered guest-room wardrobe, a Josef Frank floor lamp, a FontanaArte sconce and an Edmond Spence headboard continue the tactile approach. Jim Thompson satin, Sorensen leather, six Murano glass sconces by Stilnovo and Hans-Agne Jakobsson pendant lamps add varied surfaces and glow without requiring every room to use the same palette.
Why the lighting matters so much
Across the apartment, lighting supplies the strongest common language. The Venini Murano ceiling fixture dominates the dining room; Barovier & Toso sconces establish the entry; the Dimoremilano 047 lamp anchors the kitchen; and the living room combines a floor lamp, table lamp and wall lights. Bedrooms add pendant, fringe and table fixtures rather than relying on one overhead source.
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This mixture creates layers: ambient light from ceilings, directional or sculptural light from floor and table lamps, and reflected light from mirrors, glossy finishes and colored glass. It also explains why the darker textiles and greens remain legible instead of turning muddy after sunset.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Vintage versus contemporary: the project’s decision framework
Dimorestudio did not treat vintage and contemporary as opposing camps. Vintage objects provide patina, recognizable historical forms and irregularity: the Pierluigi Colli sideboard, Gio Ponti candleholder, Johannes Andersen stools, Crespi pieces, Borsani furniture and Murano fixtures all carry that role. Contemporary Dimoremilano designs—such as the Campeggio table, Ignazio coffee table, Sciura armchairs, mirrored screen, Panchina bench and 047 lamp—control proportion and connect the rooms to the present.
For anyone adapting the approach, the useful distinction is between an original named design and a style alternative. A genuine vintage Venini fixture, for example, is a specific collectible object; a newly made Murano-style or multicolored glass chandelier can deliver a related sense of movement without claiming to be that original piece. The feature supplies no current prices, stock information or performance comparisons for any of these objects.
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Start with the architecture you already have
Keep cornicing, proportion and other meaningful period details visible. Add contrast through a framed wall covering, a painted surround or one reflective surface instead of covering every traditional element.
Choose one statement light per major room
Use a sculptural ceiling fixture in a dining room or entry, then support it with sconces and lamps at lower levels. The Eaton Square scheme shows why several modest sources often make a stronger atmosphere than one bright central fitting.
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Build a controlled color thread
Salci’s Vasari-inspired greens appear in textiles, furniture and decorative details. Repeating one family of color in small amounts is more adaptable than painting every surface the same shade.
Mix periods deliberately
Pair one vintage anchor—a sideboard, chair, lamp or mirror—with a contemporary table or upholstered piece. Add a tactile textile such as silk, satin, leather or a patterned rug to connect the two.
Use alternatives honestly
If the exact vintage item is unavailable, describe a substitute as a style alternative rather than presenting it as the named original. That distinction matters especially for rare Murano lighting and collectible midcentury furniture.
What this project is—and is not
The Eaton Square apartment should not be confused with Dimorestudio’s Milan Furniture Fair installation with Loro Piana. That separate installation placed visitors in a fictional vintage cinema and a 1970s- and ’80s-style residence with a curated soundtrack. It illustrates the studio’s talent for scenography, but it is not a room or feature of the London home.
Nor does the apartment establish a general rule about London renovation costs, schedules or planning approvals. The only reported measurements and timing are this residence’s 4,300 square feet and almost 10-year process, with the pandemic and Grosvenor Estate planning rules cited as contributing factors.
The design lesson from Eaton Square
Dimorestudio’s transformation succeeds because it gives every layer a job. Traditional architecture supplies the frame; Italian craft and Murano glass provide identity; vintage pieces add memory; contemporary furniture sets proportion; and Vasari-influenced greens, silk, marble, wallpaper and reflective surfaces carry the mood from room to room. The result is Italian in sensibility rather than in a rigid national style: a carefully edited, upper-floor London home that feels atmospheric at first glance and increasingly detailed the longer it is examined.
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