Emma Beryl Kemper is the founder of Emma Beryl Interiors, a New York–based design studio known for creating quietly layered, deeply liveable spaces that feel both timeless and fresh. A graduate of the New York School of Interior Design, Emma's signature style blends vintage finds with bespoke pieces, weaving together traditional silhouettes and modern lines to create homes that feel collected over time.
In this conversation, Emma shares her approach to balancing comfort and elegance, her affinity for natural materials and sculptural lighting, and why emotional resonance is at the heart of every project. From her unexpected love of red to the small design tricks she uses to make a space evolve gracefully, she offers an intimate look into her design philosophy.
Your interiors are known for their quietly layered elegance. How would you personally describe your design style?
I try to design specifically for the space, to constantly go back to color, for everything to feel comfortable, and for people to want to use these spaces, while also linking back to the architecture of the home.
Many of your projects feature a rich mix of traditional silhouettes with modern lines. How do you strike that balance between timeless and contemporary?
When we're sourcing, we try to do a mix between vintage and new and bespoke, and the reason for that is to make everything feel personalised, while also helping to keep the budget under control. I’m not someone who gravitates towards all new things, it's not comfortable on the eye or the soul when everything is fresh out of the box. We're really looking for pieces that have had a previous life, and that you can’t tell when they’ve been designed.
Are you drawn to any particular eras for your vintage pieces?
No, I’m not drawn to any particular eras as such, but wherever I’ve last been tends to be what influences me. I was recently in Portugal, and loves it so much - the hotel I was in was so streamlined, whitewashed and beautiful. And of course I fell for all the handmade tiles.
You’ve spoken before about creating homes that feel collected over time. What are the key elements that help you achieve that layered look?
There are certain things I tend to always buy vintage - area rugs make a big impact and if they’re older you’re not going to worry so much about walking on them. Sofas I’ll tend to get new, because people want the warranty and it’s a bit easier than breathing new life into a vintage one.
When beginning a new project, where do you start? Is it a color, a fabric, a piece of art, or something else entirely?
I’m usually looking at my inspiration sources in a more ‘zoomed out’ way - thinking back to the cities I’ve been to, the hotels I’ve stayed in. Breaking those places down, working out what resonated, whether it was a pattern I saw or a clever use of color. Occasionally, art will be the starting point, but it’s usually more likely to be a color.
In that case, are there any colors you’re currently finding yourself drawn to?
Yes - it’s so weird but for the past year I’ve been doing so much red! The house I grew up in was red, and I used to give my mom such a hard time about it, but suddenly I now love it. It’s almost become a neutral for me. I’ll use it to paint walls, for a giant red velvet sofa.
What tone of red are you using? Bright or knocked back?
I’m going more towards the terracotta or brick end of the red spectrum. Like Farrow and Ball’s Red Earth paint, which feels so good to be around.
Feeling good is such a key part of design right now. What role does emotion play in your design process?
Emotion is the most important thing. I would hope the second you walk into a space we’ve designed that you feel happier, that you’re interested to see what is going on. I was photographing a project recently and the photographer said they felt like the home was giving them a hug, which was just the nicest thing. You just have to be immersive, to not be afraid to put texture on the wall, to find a candle that smells good and makes you feel good.
From your portfolio, it’s clear you love using natural stone, antique textiles, and custom millwork. Are there any materials or finishes you return to time and again?
Any natural material actually. I just hate things that don’t age.
You often include sculptural lighting and unexpected art in your rooms. What do you look for when sourcing these pieces?
I like that you can do more fragile light fixtures and it’s hard to breask them because they’re up high or in a corner We often do sculptural glass that looks so delicate and pretty - and approach we wouldn’t take for, say, a side table, which people tend to bang into!
What do you believe is the single most important detail that makes a house feel like a home?
Comfortable furniture, and being able to relax the moment you get there. Having it feel personal to you.
What’s one subtle design trick you always use to elevate a room without it feeling overly “decorated”?
I was watching the designer Beata Heuman’s masterclass, and she said something I’ve thought for a while, that people will always want to buy stuff. So, as a designer, you have to leave space for those newer pieces that will come long after you’ve left. In fact, what you’re creating is not a finished home but a canvas on which they can continue to add and evolve it.
See more of Emma's work at Emma Beryl
You must confirm your public display name before commenting
Please logout and then login again, you will then be prompted to enter your display name.