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Originally built in 1822, \nit is located in Capri, just steps from one of the most \nbeautiful places on the fabled Italian island, the Piazzetta. \nHotel La Palma reopened in 2023 afer the almost \nthree-year-long renovation led by internationally \nacclaimed designer Francis Sultana. He envisioned \nLa Palma, his frst ever hotel project, as an inviting \nhome away from home. To ensure the hotel retained an \nauthentic sense of place, almost everything was custom \ndesigned on commission by Italian crafsmen and local \nartisans, with an obsessive attention to detail.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.6.png","6\n7\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.7.png","8\n9\n“I wanted people to feel comfortable, \nand to feel that the place is \nappropriate. An appropriate, elegant \nhotel that blends in well with Capri,\nas if it has always been there.”\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.8.png","10\n11\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.9.png","12\n13\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.10.png","14\n15\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.11.png","16\n17\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.12.png","18\n19\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.13.png","20\n21\n“My designs are good, but unless \nthey’re made authentically, \nwith the surrounding environment \nin mind, they are not strong. \nSo crafsmanship is key.”\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.14.png","22\n23\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.15.png","24\n25\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.16.png","26\n27\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.17.png","28\n29\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.18.png","30\n31\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.19.png","32\n33\n“White - bianco - is all around \nin Capri: houses are white, \nit is the colour of calmness. \nThen there are the aquas, the \npale greens, the limone – I used \nwhat I saw around me.”\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.20.png","34\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.21.png","36\n37\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.22.png","38\n39\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.23.png","40\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.24.png","42\n43\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.25.png","44\n45\nFRANCIS SULTANA\nFrancis Sultana is one of the world’s foremost interior and furniture \ndesigners – he is featured in Architectural Digest US magazine’s \nannual AD100, cited as one of Wallpaper’s Top 20 Interior \nDesigners and listed on House & Garden and AD Italia’s Top 100. \nHe is also the artistic director of the renowned David Gill Gallery \nof London, sits on the Victoria & Albert Museum’s Advisory Council, \nand has institutional roles in Serpentine Galleries and the Design \nMuseum of London. Design and art are so intertwined in his life, \nthat the ability to merge them in his interiors has become one of \nhis peculiarities, as well as having a strong interest for artisanal \nskills and techniques. Hotel La Palma, Sultana’s first hotel project, \nstems from the designer’s love for Capri, one of his favorite holiday \nspots, an island that reminds him of his birthplace, Malta.\nYou recently renovated Hotel La Palma, the oldest hotel in \nCapri and your first ever hotel project. Where did you start \nfrom?   \nI’ve known Capri for more than 25 years, I’ve been going there every \nsummer, so the most important thing was the inspiration it has \ngiven me. Thinking about the building and its historical references, \nI wanted to bring it back to its original narrative, complementing \nthe architectural history with something up to date, restored and \nconserved for the future. \nHow would you describe Capri?  \nI grew up in Gozo, the small island off the coast of Malta, so I know \nvery well how an island like Capri works, and that’s why I am very \nfond of it. Capri is unique, it is neither part of the mainland, nor of \nthe Amalfi coast, even if it has the same influences. It is in its own \nbubble, it has always been a place of beauty that attracts people. It \nhas its own way of dealing with things, its own way of survival. Even \nthe people are very different: they look after themselves and their \nisland in a way that is different from all the other islands around. \nIt’s such a special place. \nYou said in an interview that: “an interior design project is \nsuccessful when one is able to read the space”. What is the \nvocation of Hotel La Palma?\nHotel La Palma is located in the middle of Capri, near the Piazzetta, \nso it really lies at the core of what Capri represents. I wanted the \nhotel to look like a villa and feel like a home. In a way, my experience \nin designing homes shines through, but what is new is that with \na hotel I have to please not just one family but all the different \npeople who come every season, people from all over the world and \nItalians themselves. It’s been a very interesting and challenging \nway of decorating, also thinking about the historical context of the \nItalian style, and the Italian way of doing things. I wanted people \nto feel comfortable, and to feel that the place is appropriate. An \nappropriate, elegant hotel that blends in well with Capri, as if it has \nalways been there.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.26.png","46\n47\nLa Palma is a luxury hotel: what does luxury means today? \nI think the most successful luxury interiors today are low key and \nvery sophisticated, which is actually the most difficult thing to \nachieve, because understated decoration can be very expensive, \neven if you wouldn’t say so by looking at it. But the quality is there, \nthe design is there, and the history is there. It is the most difficult \nroute to take when decorating nowadays. There are designers in \nevery country who are very focused on this, and I am one of them. \nWe are a small group with a very defined identity, style and point \nof view, and every project we do challenges us to excel.\nYou designed everything, from the furniture to small details: \nwhat is the role of craftsmanship in this project? \nI designed maybe 90% of everything inside Hotel La Palma, which \nis a very high number, and I had this vision that it had to be made in \nItaly. My designs are good, but unless they’re made authentically, \nwith the surrounding environment in mind, they are not strong. So \ncraftsmanship is key. If a great jacket were made by a bad tailor, \nit would be a bad jacket, but if it were made by a good tailor, it \nwould be a very beautiful jacket. It’s the same. Italy is a place where \nfashion and furniture design are especially strong, and it has a \nhistory of quality. I think this is why my work turned out beautifully.\nDo you have a favorite piece? \nI don’t have one, because for me the building is one thing, it’s one \nentity. The whole thing is my favorite thing. I’ve had guests saying: \n“I love this chair, I love this handle, I love that…”, but for me as a \ndesigner there is just one harmonious design.\nHow did you use colours?\nEverything for me has a narrative of the locality when it came to \ncolour. Of course, there is a lot of white, because white - bianco - is \nall around in Capri: houses are white, it is the colour of calmness. \nThen there are the aquas, the pale greens, the limone – I used what \nI saw around me, the colours that make me happy when I’m in  \nCapri. So, my palette was white, with these accents of the colours \nI picked out, which are true to the environment. \nWhat was Poliform’s contribution to the project? \nI had no experience with working with Poliform until this project. \nWhat I was very taken aback by was that my designs are very \ndifferent to what Poliform retails and what people know them for, \neven if obviously they are committed to quality, good materials and \ngood execution, so we share the same goals. A lot of my designs \ndraw inspiration from 1920s, ‘30s antique furniture, especially  \nfrom Art Deco, and contemporary design has a very different \nnarrative. What was interesting for me was that when I started \nto see the prototyping, I became very engaged with them, I got \nvery excited. They brought the artistry in: when I wanted molded \nitems, when I wanted mosaics, when I wanted all these things, they \nengaged with it very well at all different levels. We grew together, \nand I think we all very much enjoyed the process of creating \nsomething which for both parties was new. I think the collaboration \nwas a very good one, we both felt that we did something for us that \nis another stepping stone in the way that we both work.\nWhat about the counters in mosaic: what was the concept and \nhow did you develop it? \nThey were all made in Italy by Poliform. The ones on the rooftop \nare inspired by the caftans that the ladies wear in Capri, I was \nthinking of vintage Missoni, or Valentino, but also the exoticism \nin Renzo Mongiardino’s design. Then there are palms, which are \npart of the overall signature, as are the colors of Capri: the palm \nis of course for La Palma, and I used it for mosaics on the floor, on \nthe counters, and on handles. I wanted the mosaics to be artisanal, \nand not made in a factory, I mean, it was haute couture, and when \nI saw the first samples I was so happy because it was great that \nthe people at Poliform understood my designs so well, it meant \nthey understood me.\nYou are loved as an interior designer for the ability to merge \ndesign with visual art, sculpture and installation pieces: what \npieces did you choose for Hotel La Palma?\nLa Palma was a hotel for artists when it first opened, so I wanted this \nhistory to continue. And I think contemporary art is very important \nin anyone’s environment, it has a very big role in all our lives. Again, \nI wanted Italian artists because we’re in Italy. The artworks in the \nrooms were done by Milanese artist Luisa Lambri. She created \nthese small precious images, sort of additional windows with views \nof Capri and Amalfi, to give guests something to aim their sight \nat, and at the same time infuse a sense of calmness. In the lobby, \nceiling frescoes are by Roberto Ruspoli. Every season from now \non there will be a new show, and the hotel will acquire some new \nartworks every year, so its collection will change and develop. I \nthink this gives a unique style to the hotel, an individuality that is \nvery sophisticated and is getting rarer in the hospitality business \ntoday. I’m very happy that I was there to lay the foundations of an \nart project like that, and that both the Ruben Brothers and Oetker \nlove the idea that art becomes very much part of what this hotel is.\nWhat was people’s reaction to the project? \nLa Palma is my first hotel, so I was quite nervous to see the reaction \nof people. But from what we know and have read in the first few \nmonths, it’s been a big success, for me but most of all for Oetker \nand the owners. There was a lot of love, a lot of generosity in \npeople’s praise for the hotel and for me as a designer. One of the \nmost important elements was the recognition I got from the people \nof Capri. They were nervous about the hotel, about an international \ncompany with an international designer coming in and putting \nsomething modernist perhaps or that doesn’t fit in. They all loved \nthe hotel, I gave them something that has the essence of Capri, \nshowing that conserving the architecture, restoring it, looking after \nit, bringing it up to date, creates a new authenticity to the place. I’m \nso happy I was given this opportunity, it was fate that this hotel, my \nfirst, is in one of my favorite places in the world.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fcf\u002F14b96fd76cca71c063789835c08a42-285d67b7dd.27.png","Poliform Spa\nContract Division\nvia Trento 2 - ang. via Magni\nCasella postale n. 1\n22044 Inverigo (CO) Italy\nt +39 031 695601\nf +39 031 695354\ninfo.contract@poliform.it\npoliform.it\nAll the Poliform collections are \nmanufactured 100% in Italy \nusing top-class components \nand materials. \nCreative Direction\nApartamento Studios\nGraphic Design\nApartamento Studios\nText\nLisa Cadamuro\nInteriors Photography\nF2 Fotografia\nPortrait Photography\nSimon Upton\n1st edition February 2024\ncod. 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