For 25 years, Melbourne-based interior designer David Hicks has built a body of work that has carried his eponymous studio far beyond what he once imagined. From designing apartments from the ground up to creating coastal family retreats, shaping expansive hospitality spaces and launching product collaborations, Hicks has approached each venture with clarity and conviction.
To mark the milestone, we sat down with him to reflect on the past two-and-a-half decades, tracing the path that brought him here, the lessons learned along the way, and what comes next.
David, you’ve described your design approach as a constant negotiation between your left and right brain—order and instinct. How has this internal dialogue evolved over the years, and how does it manifest in your work today?
David Hicks: It’s true—I’ve always felt my process is shaped by that quiet push and pull between order and instinct. Earlier in my career, I leaned more heavily into the structured side of things. I liked clarity, precision, and control. Everything had its place. But over time, I’ve come to appreciate the value of intuition—those moments where you let go of the rules just enough to allow something softer, more unexpected, to take shape.
Now, I find the most interesting work happens in that in-between space. The grey area. It’s where refinement meets feeling. Where formality can be loosened, just enough, to let the personality of a space come through.
That balance continues to evolve with each project. Order gives the work discipline. Instinct gives it soul. Together, they shape spaces that are not only beautiful and resolved, but also deeply human.
SK Penthouse by David Hicks | Photography by Tom Blachford
SK Penthouse by David Hicks | Photography by Tom Blachford
“What keeps the work evolving is curiosity—about design, about culture, about how people want to live. ”
– DAVID HICKS
SK Penthouse by David Hicks | Photography by Tom Blachford
From a drawing board in a spare bedroom to over 1,000 residential, retail, and hospitality projects across the globe, what has remained constant in your design ethos through it all?
David Hicks: For me, it’s always been about detail. But not just in the decorative sense—detail begins with how a space works. How it flows. How it feels to walk through it. When scale and proportion are resolved from the outset, everything that follows feels effortless. It sets the tone for a space that feels grounded and intuitive.
Once that foundation is in place, I begin to think about the visual language—how the project will express itself. I’m meticulous with materials. I look at thicknesses, standard sizing, installation details—it might seem technical, but it allows for more refined integration. It’s where you achieve that sense of quiet resolution. When something looks simple but is, in fact, incredibly considered—that’s where the magic happens.
That part of the process is logical, even structured—but instinct is always layered in. You have to feel how textures will sit together, how light will move across a surface, how colour will shift from room to room. That’s the part that can’t be calculated.
It’s always been that balance of precision and intuition that brings a project to life. And I still believe that’s where the best design lives.
SK Penthouse by David Hicks | Photography by Tom Blachford
SK Penthouse by David Hicks | Photography by Tom Blachford
Your first project was set entirely to a 600 x 600 grid, aligning every detail to the terrazzo grout lines. How did that obsessive precision shape your foundation?
David Hicks: That project really set the tone for how I approach design. It was the first time I realised how powerful one material can be in shaping an entire space. The terrazzo tile wasn’t just a surface choice, it became the framework for the whole project. I was interested in how far I could push it—not just visually, but spatially. It was about letting the material lead and then building the design language around that.
Working with a 600 x 600 grid taught me how to think in a more structured way. It shaped everything—from the flow of the rooms to the placement of joinery and panelling. But it wasn’t about control for the sake of it—it was about discovering how a single, simple material could bring clarity and rhythm to a space.
There was a definite nod to the Modernist and Minimalist movements in that project too. I was drawn to the idea of using one pure element and allowing it to do the heavy lifting—stripping everything back to its essence. At the time, that really resonated with me.
Looking back, it was a very instinctive way of working. And that instinct—to let a material guide the direction of a project—is something I still carry with me. Whether it’s a tile, a slab of marble, a colour, or a period detail, I often begin with one quiet reference point and let the rest unfold from there.
That early experience helped me understand that detail, when considered from the start, can do more than just refine a project—it can define it.
Stonnington by David Hicks | Photography by Tom Blachford
Stonnington by David Hicks | Photography by Tom Blachford
Stonnington by David Hicks | Photography by Tom Blachford
Do you still design with the same rigour today?
David Hicks: Absolutely. That rigour has always been part of my process—it’s what gives the work its longevity. Our projects are timeless because they’re grounded in structure: well-planned spaces, thoughtful proportions, and materials that are considered from the outset.
I remain closely involved in every project, from concept to completion. It’s not about control, but about care. That level of continuity means clients are getting my eyes on every detail—across design, documentation, and delivery. It’s a more personal approach, and one that allows the work to remain cohesive and quietly confident.
In an age of Instagram-led design, where speed and surface can sometimes take the lead, I’m still drawn to a slower, more deliberate process. The kind that values how something feels just as much as how it photographs. That’s the work that lasts.
You mentioned battling with the ‘dirty word’ decorative, eventually embracing its value. Can you speak to the moment when your perception of decoration shifted, and how it influenced your broader design language?
David Hicks: When I started out, interior design and decoration were seen as very separate. Design was architectural—streamlined and precise—while decoration was often dismissed as ornamental or overly traditional. It didn’t sit comfortably within the minimalist aesthetic of the time, and for a while, I kept it at arm’s length.
But I was always drawn to it—particularly the richness of European and Oriental traditions. I remember seeing a New York apartment that shifted my perspective completely. It was stark and minimal, layered with chrome and cream carpet, and in the middle of it all—one French Louis chair in white linen. It was unexpected and beautifully balanced.
From there, I began incorporating decorative touches—tapestry, antique candlesticks, floral fabrics on contemporary chairs. I started learning about different periods, textiles, and craftsmanship. Around the same time, I discovered mid-century and Italian vintage pieces, like Murano glass chandeliers, long before they became mainstream here.
But I loved it—the story behind each piece, the craftsmanship, the tension it created within a more restrained interior. It brought depth and warmth to the work.
Now, I see decoration as the final, essential layer. It softens the architecture, tells a story, and gives the space its sense of personality. It’s no longer something I battle with—it’s something I embrace.
Stonnington by David Hicks | Photography by Tom Blachford
Stonnington by David Hicks | Photography by Tom Blachford
Stonnington by David Hicks | Photography by Tom Blachford
You’ve helped shape the way Australians understand and value design as part of their identity. How would you describe the evolution of Australian design in parallel to your own journey?
David Hicks: When I started out, Australia was still forming its design voice. The identity was young, and access to international inspiration was limited—we relied on a handful of magazines, local showrooms, and the work of a small circle of designers. Everything felt a little more contained.
I launched my practice in 2000—Google was barely a year old, and there was no Instagram or Pinterest. The industry felt quieter, more introspective. In a way, that allowed for clarity.
Over time, as global access opened up, so did the way Australians engaged with design. We began looking outward, but also inward—becoming more confident in defining our own aesthetic, rather than simply borrowing from elsewhere.
In many ways, my journey has grown in parallel with that shift. As the industry expanded, so did the expectations, the resources, and the reach. And with that came the opportunity to think more conceptually, to push materials further, and to engage with a much broader audience.
What’s exciting is that Australian design now feels both distinctive and global. It’s still rooted in a sense of ease and liveability, but with far more sophistication and diversity than when I began. Watching that growth—and contributing to it in my own way—has been one of the most rewarding parts of the journey.
Your studio has touched every sector—from private homes to four-storey nightclubs, retail, and resorts. Is there a particular typology or project scale that continues to challenge and excite you creatively?
David Hicks: What I’ve always appreciated about the studio is the variety—we’ve been fortunate to work across a wide spectrum of project types over the years, from luxury homes and multi-residential developments to retail and hospitality. Each one presents a different kind of brief, a different way of thinking, and that’s what keeps the work interesting.
Residential will always be at the core of what we do. There’s something incredibly rewarding about creating spaces that are so deeply personal. Whether it’s a family home or a boutique apartment development, I find that work constantly evolving—and I’m always learning from it.
Hotel design is another area I’d love to explore further. It’s a space where you can layer in more atmosphere, storytelling and emotion. There’s a different kind of complexity to it, which I find really energising.
Ultimately, it’s not about size or sector—it’s about the opportunity to create something thoughtful, well-resolved, and lasting. That’s what excites me most.
Albert Park by David Hicks | Photography by Mark Roper
Albert Park by David Hicks | Photography by Mark Roper
Albert Park by David Hicks | Photography by Mark Roper
Looking back, being retrenched at 26 was a pivotal turning point. How did that moment of professional uncertainty inform your determination to lead your own studio?
David Hicks: I always had the ambition to start my own studio—I think I just needed the nudge to make it real. Creatively, I felt ready. It was more the business side that was unknown. But when you’re young, you don’t dwell on the risks in the same way. You trust your instincts, back your ideas, and just find a way forward.
At the time, the design industry felt full of possibility. There was genuine interest in new voices, and opportunities to build a presence—through awards, editorial coverage, or simply through the work itself. I immersed myself in all of it, learning as I went.
Looking back, it was a bold move, but one I made with clarity around what I wanted to create. The structure and systems came later—but the creative foundation was always there.
You’ve mentioned you’re more confident now in your design language and instincts. How would you define the current voice of David Hicks Studio?
David Hicks: With experience comes a stronger sense of clarity—and a deeper understanding of nuance. After 25 years, I know what resonates, what works for clients, and how to listen beyond the brief. I’ve come to realise that great design isn’t about chasing recognition—it’s about creating something thoughtful, tailored, and lasting.
The voice of the studio today is confident and refined, but always evolving. It’s grounded in timelessness, with an emphasis on proportion, materiality and restraint. There’s a quiet precision in the work, but also a sensitivity to how people live. That human connection is just as important as the aesthetic outcome.
What keeps the work evolving is curiosity—about design, about culture, about how people want to live. That ongoing interest helps keep the studio’s perspective open, relevant, and quietly progressive.
Where do you see it heading next, particularly in the realm of product collaborations?
David Hicks: I hope the studio continues in the same direction — I genuinely love what we do and the projects we’re fortunate enough to work on. Staying current means constantly evolving, but for me, it’s less about shifting our ethos and more about refining how we deliver. The question is always: how can we do it better? How do we create spaces that enrich people’s lives, that feel good to be in — spaces that are uplifting, approachable and tactile?
That philosophy has naturally extended into product collaborations. It’s incredibly exciting to see our design language evolve into a new iteration — to express it in a different medium yet still keep it true to who we are. We’ve been working closely with Sussex on a range of tapware and accessories for the kitchen and bathroom. It came from a simple need — we just couldn’t find a range that truly resonated with our work. Sussex shares a similar ethos, and the collaboration has felt like a very natural alignment. The range will be launching soon, and we’re proud of the level of detail and craft involved.
We’re also developing other product lines with different manufacturers and will be sharing those in due course. It’s all part of refining what we do and expanding how our designs can live in the world — whether that’s through products, projects, or the growing number of international commissions we’re now working on.
Interior designer David Hicks | Photography by Sam Bisso
SK Penthouse by David Hicks | Photography by Tom Blachford
“Ultimately, it’s not about size or sector—it’s about the opportunity to create something thoughtful, well-resolved, and lasting. That’s what excites me most.”
– DAVID HICKS
