Yana Karnaukhova: Ksenia, can you tell us about your journey into interior design? What initially sparked your passion for this field?

Ksenia Yashvili:

I was never keen on technical subjects—things like algebra or physics bored me or simply never interested me enough. Drawing, languages, and other humanities classes, on the other hand, captivated me and held my interest for much longer. So when the time came to choose a university, I was as lost as most kids were. My first choice was to become a plastic surgeon, but I quickly realized I had no talent for the sciences like chemistry, which is obviously crucial for passing the entry tests. I had zero knowledge of chemistry.
That’s when my mother stepped in and suggested a very glamorous profession at the time. Think of Hollywood movies from the 2000s, like Sex & The City. Interior designers were always portrayed as glamorous and successful, stepping out of black limos wearing furs (which weren’t banned by society back then). I suppose this image left an impression on my mother, and she suggested it to me. I only had to think for five minutes before agreeing. It was something that had never crossed my mind, but it was also about beauty and improving people’s lives—just like plastic surgery. Plus, no chemistry exam was required, which was a big bonus.

YK: Are there particular experiences or places that have shaped your approach?

KY: It was definitely my life in Italy. I studied in Milan and lived there for three years. Although I never intended to stay and live there after graduation, my time in the city undoubtedly shaped much of my taste, even though I didn’t realize it at the time. The way people dressed, the architecture, the dolce far niente (even though the north of Italy is more business-oriented than the south), the design weeks, and the many design factories just around the corner—all of these left a lasting impact on me. Now, many years later, Italian architecture and 20th-century design are major sources of inspiration for me. Just look at the Milanese entryways in ordinary apartment buildings—they’re complete works of art!

YK: How would you describe your design philosophy? What principles guide your creative process?

KY: Harmony is a main principle.

There should be harmony and balance in everything—in the dialogue between the exterior and interior of a house, the balance between large and small, cold and warm, flat and textured. Objects are not just “a table and a chair”; they should create a dialogue, balancing each other to establish harmony in the space.
And let’s not forget about finding the perfect shades of neutral colors. The hardest part is selecting just the right shade—finding the exact version of white that complements the natural light coming through the windows or the perfect tone to match the rug. The wrong shades really upset me. They can ruin the entire concept of the space.

YK: Where do you find inspiration for your projects? Are there particular designers, artists, or movements that have influenced your work?

KY: I generally focus on two main directions in my design. The first is what I call “soft minimalism,” where white is my primary color choice. This approach can range from brutal and cold to very warm and welcoming, as white is an incredibly versatile color. This direction was inspired by livable Belgian architecture and designers like Axel Vervoordt and Vincent Van Duysen.
The second direction is inspired by mid-century Italy, characterized by a dialogue between the old and the new. It’s more artistic, with hand-painted walls, mid-century furniture, and European vintage pieces. Architects like Gio Ponti and Tobia Scarpa are major inspirations in this style.
My social media feeds are filled with interior design and architecture subscriptions, and I have well-organized files containing small details, carpentry works, fixtures, etc. Each of these images can serve as a starting point for a new interior.

YK: Can you walk us through your design process, from concept to completion?

KY: The process is very long since interior design may take many years in the making. Some projects are fast, some are long-running and change with time.
I think one of the most important parts in A to Z road is to see clearly the final result in your head.
Client may get extremely tired of spending money and seeing nothing but the cement dust. So if you have a clear idea in your head what the result is going to be, if you have a very well technically designed project with all the smallest details, then you will be  able to convince your clients that the result is going to be great and the process is going to be quite smooth.
At the end of the day, clients want to have great result and a smooth experience. So do I, so being utterly pedantic about the drawings and being a little bit of a control freak may really help with it. 

YK: Every creative professional faces moments of creative crisis. How do you spend these periods and what strategies do you use to revive your creativity?

KY: Just like in a good project, it’s important to have balance in life. Sometimes I feel full of energy and can spend all day at my computer working, making calls, and running errands. However, at other times, like anyone else, I feel low and need to force myself to work. I’ve learned that if I feel like doing nothing, no matter how hard I try to persuade myself to work, my progress will still be slow.
When I feel this way, I allow myself to step away and spend the rest of the day doing things I enjoy. This approach has come with experience and time. Activities like watching series, going for a massage, shopping, or meeting with friends help me unwind. I let myself procrastinate, but I do it consciously and not in front of the computer, where I would be wasting time trying to focus on work. Instead, I give myself dedicated time to relax and do absolutely nothing.
Let me tell you, this approach works wonders. The next day, you’ll find that you accomplish twice as much simply because you’ve properly relaxed and recharged your batteries.

YK: Travel is a significant source of inspiration for many designers. How has your travel influenced your work? Can you share any particular destinations that have left a lasting impact on your designs?

KY: Traveling is not only a great way to relax and get inspired but also a valuable source of technical ideas. When I travel, I prefer to stay in hotels that truly inspire me or at least visit their spas or restaurants. This allows me to observe how other designers address technical challenges, such as hiding air conditioning equipment, joining various materials, and using unconventional solutions for different problems.
While magazines and social media often present polished images that don’t reflect real life, traveling gives me the opportunity to focus on practical technical solutions and unique details. I always, always pay attention to these aspects, photograph them, and try to incorporate them into my own work.

YK: How do you approach designing spaces that evoke the essence of a particular place or culture without falling into clichés?

KY: It is hard not to be cliché in interior design since we all use the same types of things. All houses need beds, chairs, sofas, windows, light fixtures ect.  No one invents bicycle here. It is more about how you incorporate various ideas into one, how you combine what you previously saw, how you elaborate on somebody else’s designs. At the end of the day, we all elaborate on previously invented things and even if you copy-paste one element from one interior it is all matter of how well you incorporate it in the rest of the house or how well you mix various copy-pasted ideas together.
I am over this idea of being creatively unique. I am more about good taste and timeless ideas rather than trying to jump out of my skin showing how unique my designs are. Cashmere sweater is a cashmere sweater. It is only a matter of quality, good fit, complementing color and brand. 

YK: What’s next for you? Are there any upcoming projects or collaborations you’re excited about?

KY: Summer is a vacation time for everyone. August is the second Christmas for interior designers. Most European factories are closing, most showrooms are not responding on time. Our work is practically suspended until September.
Some projects are in talks, some new exciting things are in works however I can not tell anyone about it yet. So we will see what September brings.

YK: Finally, how do you want people to feel when they walk into a space you’ve designed?

KY: My house is not the most extravagant and not the most expensive house in Moscow. However when guests come they always notice how simple yet defferent it is from everything they’ve seen before. They say they’ve seen bigger; they’ve seen more expensive; they’ve seen designer however my house has some unique feeling about it. They can’t explain it but they all notice it. That’s what I want my projects to reflect, not extravagant design but a unique feeling of “je ne sais quoi” that people have once they step in.
I want people to feel tranquil, comfortable and in a right place.