Ana Borges

The words "We make dreams come true” appear at the entrance to the Ana Borges Interiores studio at 128 Rua Marquês Pombal, on the outskirts of Lisbon. It’s a striking entrance for anyone entrusting the project of a lifetime to this team. All around lie textile samples and a bookcase containing an array of books that highlight the purpose of this space. Picasso is one of the titles that grabs your attention, an apparently methodical and demanding book. Ana may not be Picasso, but her compatibility with procedures is irrefutable. She says she’s "nit-picky” and "intense” and leaves a little of herself behind in every project she takes on. Next to the studio, she has her manufacturing atelier, which supports the project she has headed for more than two decades. In recent years, she has used her knowledge and sensitivity to set to work and create spaces endowed with a soul, as one of the world’s most acclaimed designers, Philippe Starck, who asked her to decorate one of his houses in Portugal, can attest. The following is an unfiltered conversation, with a twinkle in her eye, between someone speaking, and someone who is listening (and reading).

You have a degree in Historical Science, specialising in History of Art. How did your passion for interior design come about?
This passion arose before I graduated. When I went to university, I decided to study History of Art, because I was urged by my family to pursue a career with a future, that is to say one that wasn’t linked to the arts. The truth is that the world of art is very ephemeral – sometimes you can make it, sometimes you can’t – and having a so-called "normal” profession, with Christmas and holiday pay and a pension, is important. And at that time, the interior design sector was not very developed. At the same time, I kept my distance from architecture in order to avoid maths. So, at the age of 18, I enrolled in a history course for the sake of culture in general, but it wasn’t what I wanted to do with my life. Five years later I finished my degree. I ended up teaching for six months and then embarked on a business career, as a commercial director for a company – a status that allowed me to earn a nice salary and, of course, gain greater independence. After this phase of my life, I was able to start making my own choices, which included doing what I love most: interior design. When I got married, I decorated my own house. Friends started to notice how I was decorating and ended up asking me to help them decorate their homes. That’s how I started really, in a self-taught way, but one that I knew was the right way to go. I had ambition, I took risks and I invested. 

Did you know from an early age that you had a tendency towards interior design? What were the signs?
When I turned 18, I was given a sewing machine as a birthday present, after having begged my mum to give me one. I already loved creating, making my own bags, pinning and sewing my own clothes... I loved everything that was fabric, so the sewing machine was a fabulous toy. When I took a new bag to college, my classmates immediately suspected that I had made it.

You founded Ana Borges Interiores more than 25 years ago. What has your journey through the world of interiors been like?
My journey through the world of interiors has always been a very steady one. Taking it slowly, one step at a time, we have been tackling the challenges our clients have set us, with quality and professionalism.
During the major economic crisis in 2008 many companies were unable to stay in business but, as we were working with our own capital, we were able to keep going. We found ourselves in a bit of a counter-cycle. We ended up growing, by tapping into a type of market that we hadn’t been in before. Having been on the market for so many years has also allowed people to recognise us. Basically, all these factors have contributed positively to our growth, allowing us to meet the needs of our clients, who have been presenting us with challenges, which, as a rule, we have been able to fulfil. 

Do you find it difficult to turn down projects?
I find it very difficult to turn down projects, for various reasons. The team has come this far because of the support and trust that clients have placed in us. I know that when people come to us, they always have faith in us, knowing how we work and what our stance is in the market. And so, there’s always the matter of respecting the client who has recommended us, without forgetting how ephemeral the market is, with its curves and crises. Often there are things that, at the time, are not worth doing at all, but, for the sake of consistency and respect, I almost never say no. 

What kind of consumer profile are we talking about? Who uses Ana Borges Interiores?
There are various types of customers and, lately, the Setúbal and Palmela areas have been the most in demand for projects. We have the customer who has been following us for many years and suddenly needs to change a bed because their child has grown up, as much as the customer who wants a turnkey project and doesn’t want to worry about anything else. We are also in great demand from foreigners. 

What care needs to be taken when designing a project?
It’s in stages. First, we have a meeting with the client. We analyse their expectations, needs and possibly the budget they have in mind, so that we can align with the most suitable suppliers for the purpose, depending on the range requested. This means we end up putting ourselves in the client’s shoes a little, understanding their aspirations, which can range from classic to minimalist, floral to geometric... Complementing this personalisation, we always incorporate the latest trends, so in between we always take care to update and question the client about the options we can offer. There’s also the phase of ordering, receiving the materials, distributing and, finally, placing the materials in the room. I must emphasise that these processes often don’t just depend on the team, as third parties are involved and it’s essential to liaise so that everything runs to schedule. Clients are always in a hurry when it comes to these kinds of projects.

"I try to anticipate any faults that may arise”

So, it’s always working under pressure?
Always. Sometimes we even joke about it and say that, like triage, there are projects labelled green, orange and red, depending on the timing required by the client, which is usually short. 

Is it an easy task to keep up with the ever-changing times and the demands of the clients?
It’s not very easy. I often make an analogy between interior designers and actors. Actors quickly go from being heroes to villains, that is, they drastically change their characters, and so does an interior designer, who has to do a lot of research to adapt to a project that may have nothing to do with the previous one they’ve done. It’s a job that requires a lot of research. 

Do you always go to trade fairs?
Yes. Unfortunately, there is very little and poor supply at a national level, but in Italy there are some good shows, as well as in Valencia. We take inspiration from here and there, and I follow international websites from countries like the United States, Canada and Brazil. Brazil has always been good in terms of décor, and the United States is where it all happens. 

Does the home have the same symbolism today as it did 20 years ago?
I think the symbolism has changed. At the time when I started working in the sector, the home was almost untouchable. The living room was only used for Christmas and birthdays, almost like a house museum, but that’s no longer the case today. Nowadays people want practical and functional homes, putting each and every room to good use. The trend is now about American kitchens, open plan, which open onto the living room in order to create conviviality. And so, I think that the philosophy of the home and the way we live in it have changed significantly. I felt that, after the pandemic, people invested in outdoor spaces, with a small garden, a lounger and a breakfast table. Many were confined for a long time, hence the growing need. 

Out of curiosity, which room in the house do you most like to decorate?
It depends on the type of house and how much space there is. I really like living rooms, because you can usually create more than one atmosphere in the space. It’s also the area where people socialise and live the most. I especially like designing kitchens, because I make them to measure, as if they were for me. I confess I’m not a fan of American kitchens. 

You are the Portuguese woman who decorated the home of one of the world’s most famous designers. Is there any margin for error with this type of request?
Not mistakes on our part. I’m very demanding, I make mistakes like everyone else, but I try to anticipate any faults that may arise before they get to the client, even if it means a loss for the company. If I take on the project, this is how it will work, and I always try to achieve perfection. Setbacks can arise, for example, with each client’s personal taste, not least because it’s related to the experiences and expectations that are placed on what is interpreted as beautiful and functional. This is how it worked with Philippe Starck: if he was satisfied with our work, he would set us another challenge. He chose everything, including the fabrics. We were then invited back for a second project and everything went very well.

"Everything is always a question of perspective”

Were you satisfied with the two projects you did for Philippe Starck?
I was. 

Were they the best that your team has ever designed?
No. 

What is the Ana Borges Interiores style?
People say that there is a specific style, that when they see projects, they can identify those that are by Ana Borges. I’d say it’s probably the soul that identifies them as mine. The soul that is in all of them, even though they are different. That’s good, but there actually isn’t a colour or geometric figure that defines my style.

You say that you decorate Portuguese homes, but mainly those of foreigners. Is it a big responsibility to design spaces that will determine the client’s connection to Portugal?
Yes, in fact, the clients themselves ask for this "connection” with Portugal. When they come here, they try to include Portuguese features in their home décor. 

What is the most recognisable design element of Portuguese culture?
I think it’s the azulejo tile, an element that identifies us around the world and which has now even been adapted to furniture. 

If you could choose one ornamental artistic style, what would it be?
Art Nouveau. 

What are the trends for 2024?
In 2024, peach shades will be the colour of the year. We’re also entering maximalism, with more colour and visual pollution expected. But I think people like things that are cosy, warm, bright and practical. So, apart from one or two situations where people go for a more robust style, I think people want a home that doesn’t need a lot of maintenance, that is simple and refined. The trends you see at trade fairs are nice when you see them applied in a restaurant or shop, but I wouldn’t say they’re ideal for everyday life because they can become tiring and cumbersome. Clients often ask me for interiors that they don’t get bored with. 

Is everything a question of perspective in the world of interiors?
I think everything is always a question of perspective. We are therefore talking about subjectivity. For example, there are houses I’ve designed myself, but which I wouldn’t want to live in. At the same time, I see that the house works for the client and fulfils their needs. In other words, it’s a question of perspective, unless it’s a badly designed project, drawn up by someone with no knowledge of the subject. Otherwise, if the person is living happily in their home, it’s not up to us to define the project as flawed. 

What are the upcoming projects for Ana Borges Interiores?
We have a board where we display our current projects, not future work. We are committed to the present and try to evolve with it, keeping up with the latest trends. Projects keep appearing and there have been a lot of them. As for the future, it’s about continuing with the same philosophy of life and investing in new people to carry on and give continuity to the ideas, not least because I’m already entering my 60s... Look, this year was the only year in my life when I stopped working on Saturdays. The team only works on Saturdays by appointment, but there’s always a lot of demand for that day. The interiors business requires a lot of availability, and mental availability too, because it’s something that’s very tiring... A lot of detail, a lot of material, a lot of decisions. But, anyway... we have some great things in the pipeline, so the future doesn’t scare me and there are always clients who come to us. We’ve also started doing work for the company Parques de Sintra, which manages the entire Pena Palace estate and for which we’ve been chosen to collaborate. I think we’re doing fine.