For more than thirty years, Robert Stilin has left his mark on America’s most refined homes. His rooms aren’t just showpieces but considered lived-in oases, full of depth, warmth, and a gentle refusal to chase after whatever’s trending. Step inside, and you’ll find walls dotted with serious art, vintage tables that look better with age, and no shortage of subtle, personal touches. Stilin’s spaces don’t ask to be admired from afar — they pull you into a lived-in experiential lifestyle.
Now, with a new gallery open in Manhattan’s NoMad, Stilin is stretching beyond private homes. The space feels much like one of his own interiors: meticulously assembled, a blend of collectible vintage, new work from up-and-coming designers, and art that lingers in your mind. Stilin talks about the pieces that keep him up at night, what today’s clients actually want, when the Hamptons light is so special, and his conviction that the heart of a great room isn’t about style — it’s about the lives unfolding inside it.
Your work is often described as layered, collected, and deeply personal. What elements must be present before a house begins to feel like home to you?
People. People make a house come alive — and houses are for people. And pets! Life is what makes a space come alive.
You have spent decades as both a designer and a collector. What do you collect?
I collect antique, 20th-, and 21st-century furniture and objects. Particularly chairs, but really everything design. And for art, I collect vintage and contemporary photography, as well as postwar and contemporary paintings and works on paper.
Many designers chase trends. Your interiors feel remarkably timeless. How do you know when a design decision will endure beyond the moment?
Yeah, I don’t do trends. For me, it’s more about choosing each piece with intention and purpose — making sure they function and are comfortable and usable. Of course they will be stylish and chic, but they have to work and make sense. That’s what is really important to me.
Photo: Billal Baruk Taright
Photo: Billal Baruk Taright
Photo: Billal Baruk Taright
Photo: Billal Baruk Taright
Photo: Tim Lenz
Photo: Tim LenzThis year, you’ve expanded your vision through the opening of your new gallery space in NoMad. What inspired you to return to retail, and how does the shop differ from your interior design practice?
I think people are tired of online shopping. It has no soul. It’s great to get ideas, but I think people want to see, feel, and touch things in person again — especially for their homes. Personally, I never stopped doing that. That’s why my interiors are so comfortable and why they work.
What is the most memorable piece you’ve ever discovered, and what made it impossible to leave behind?
I was turned onto the Zero movement very early on — Fontana, Uecker, Mack, Piene, Manzoni, and so on. They were expensive for me at the time, but I could have stretched and gotten a piece or two. That work is exponentially out of reach for me personally now, although I still buy it for my clients. But I would covet work by any of those artists. It speaks to me deeply.
Art plays a central role in many of your projects. When designing a home, do you begin with the architecture, the furnishings, or the art?
I begin with the client. Who are they? What do they like? What do they dislike? How do they want to live? What are their dreams? What are their passions? How will they use this apartment or house? Do they have children, grandchildren, or pets? Do they entertain? And on and on. I need to get to know my client before I can start the work.
Once we begin, it’s always the architecture first, followed by the furnishings and art. But those are parallel paths, not one after the other. To start, the main focus is always getting the architecture right. That’s the base you build from.
Your projects balance sophistication with comfort. Why do so many luxury homes miss that balance?
A mentor of mine used to say that taste and style are all a matter of your references, and I think there is a lot of truth in that. For me, my references are authenticity and comfort. Houses are for living and being lived in. They should be used and get better with time. If they are beautiful, even better, but first they need to work and make sense.
What are today’s most discerning clients seeking that they weren’t asking for five years ago?
Saunas and cold plunges. Separate dining rooms for entertaining. And home media rooms and private theaters are becoming very popular again.
You’ve designed homes in cities, the countryside, and coastal communities. How does a place influence your design language?
Yes. Place has a huge influence on me and my projects, and I think it influences the clients, too. Life is different in different places. A beach house and a mountain house serve a very different purpose than a primary residence. That all has to be taken into consideration, as well as the local terrain and architectural vernacular. It all matters, and it should all be considered.
Do you believe in the famous “Hamptons light?”
I do, especially in the winter. It’s incredible. Hamptons beach walks in the winter are just extraordinary!
In an era dominated by social media and instant inspiration, how do you encourage clients to develop a point of view that feels uniquely their own?
Focus on what speaks to you, what makes sense to you, and what feels right to you. You hire a professional, so listen to them, but also don’t do anything that doesn’t feel right for you. There are many choices; it doesn’t have to be just one.
Is there a design rule you frequently break?
Rules are meant to be broken. I break them all! But only when appropriate. Rules are there for a reason — as a guide — and they do serve their purpose. But sometimes you have to transcend the rules, and that’s usually when the magic happens!
When you walk into a room for the first time, what captures your attention before anything else?
The vibe and soul of the space. The energy. And the light.
Looking ahead, what materials, artists, makers, or ideas are exciting you most right now?
I am very interested in using leather, brushed stainless steel, and cane together. On another note, I am very excited about the work of Diego Villarreal Vagujhelyi. He works in bronze, and I actually represent him in my shop and gallery. I think his work is stunning. It’s all formed by his hands, his passion, and his ideas — and you really feel that.
What project, space, or accomplishment are you most proud of at this stage in your career?
I am currently working on an exhibition with Galerie Gabriel for 2027. I will be curating a collection of Nancy Gabriel’s vintage 20th-century furniture and objects, while simultaneously creative directing five of her artists, who will each make a collection of pieces that we will sprinkle throughout the exhibition — just like I do in my design work.
To learn more about Stilin and his award-winning work, visit robertstilin.com.
