He is a global designer, who travels the world and maintains offices in New York and Paris as well as São Paulo, but Sig Bergamin will alway be exuberantly Brazilian at heart. His interiors, celebrated in the new book Maximalism, are eye-poppingly colorful, multi-layered, and filled to the brim with patterns, textures, and flowers. His is a vision where too much is never enough, yet everything is held in exquisite balance. Here, he shares some images and insights from his glamorous world.
I don’t like apartments that are just one style or one period, like when people say, "Everything is going to be 1950s." For me, everything should be together: 1950s, 1960s, nineteenth century, Middle Eastern, modern. And it doesn’t all have to be designer. I can have a Vladimir Kagan sofa or Hervé van der Straeten console next to a tiger-print carpet and a chair upholstered in a fabric from a street market in Rajasthan.
It’s such a pleasure for me to go to different stores and flea markets all over the world looking for amazing things. I could never just work from an office or showroom. I need to make my own curation.
I buy whatever I love, even if I don’t know where an object is going, even if it’s not right for any project I’m working on. In fact, it’s often very hard for me to sell pieces to my clients. I just want to keep them all for myself!
A house or apartment should never look perfectly done, like it was just finished. Even if it’s brand new, it should feel like it has evolved over time. You want to acknowledge what came before. Having a sense of history is incredibly important.
Other architects have said that no one can copy me. I think it’s because I can do a bit of everything.
The designer's new book, Maximalism, published by Assouline.
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