Rosie Huntington-Whiteley Talks Taste

HUR CONVERSATIONS

Feb 25

Rosie Huntington-Whiteley

Rosie Huntington-Whiteley Talks Taste

By Bonnie Langedijk

Without ever announcing herself as one, Rosie Huntington-Whiteley has become a key tastemaker of our time—her lens sharp, her curation intentional, her influence undeniable. Whether through fashion, interiors, beauty or business, her approach is an exercise in precision. Minimal yet never sparse, refined but never rigid.

Working with fashion giants like Prada, Ralph Lauren, and Burberry cemented her as a defining face of the era. But Huntington-Whiteley was never content with being just the image. She spent the past decade moving beyond it, shaping product, brand identity, and strategy with a meticulous eye. Her longstanding partnership with Marks & Spencer and her work with Wardrobe NYC set a new precedent for brand collaborations—less endorsement, more involvement. Likewise, her beauty brand wasn’t just another name-on-the-bottle affair but a considered response to what modern consumers want.

Now, as part of The Equity Studio, she turns her attention to investment, backing brands that are as culturally astute as they are commercially sharp. It’s a natural progression for someone who has always understood that good taste isn’t just about aesthetics—it’s about vision.

Her approach to style—whether in dressing, interiors, or art—is built on clarity. She is drawn to structure, texture, and form, whether in the drape of a coat or the silhouette of a chair. Her home, shaped by pieces from Charlotte Perriand, George Nakashima, and Isamu Noguchi, mirrors the same meticulous curation that defines her wardrobe. In her art collection, the sculptural restraint of Rachel Whiteread and Louise Bourgeois sits alongside the bold minimalism of Ed Ruscha.

For Huntington-Whiteley, taste isn’t about following trends—it’s about distillation. A sharp instinct for what resonates, what endures. We sat down with her to discuss taste, the art of curation, and working with Rose Uniacke.

The Library features The ‘Bird’ Lamp designed by Jacques & Dani Ruelland, crafted from glazed ceramic with an original straw shade from circa 1953 - 1954, a Philip Lloyd Powell coffee table from the 1950s and a 1930 Axel Einar Hjorth Side Table for Nordiska Kompaniet. The space also includes a small Rose Uniacke Drawing Room Sofa in Rose Uniacke Textured Wool, a pair of rare Gio Ponti armchairs, circa 1937 and a black ceramic vase by Andre Aleth Masson. The artworls include a piece by Isabella Ducrot, Vaso I, 2022 silver, pigments, pastel and collages on Japanese paper, 2022 and the cream and black linen macrogauze hanging, M.143 No. 52 by Peter Collingwood. Photography by Simon Upton.

The Breakfast Room, featuring an Angelo M centre table by Alinea, an Akari ceiling light by Isamu Noguchi with the original shade in washi & bamboo rims (the hand-made form was created by Ozeki Company, in Gifu, Japan. It’s a series that started in 1951) and fly wall lights by Pierre Chareau. Art and ceramic pieces include ’M.72 No.3' Wall Hanging by Peter Collingwood, Two vases by Roland van de Weghe from the 1960s and a Pewter flower vase by Sekine Masafume. The blinds are crafted from Rose Uniacke fabrics. Photography by Simon Upton.

You have a very distinct sense of taste across fashion, design, and art. What do you look for, and how would you describe your curatorial lens?

For me, everything begins with an understanding of the environment—the building, climate, location, and situation. It’s about creating a space that seamlessly aligns with my day-to-day practicalities of life, work, and enjoyment. For example, our family home in the countryside had very different requirements compared to my townhouse in central London. The family home prioritised durability and functionality for family life, while my townhouse allowed me to embrace more delicate materials, antique furniture, and fabrics that didn’t need to be childproof.

When it comes to fashion, my approach is much the same, I consider where I’m going, how I’ll get there, and how I want to present myself. My day often involves several outfit changes, from gym gear for the school run to more polished looks for meetings or events. Over time, my taste has evolved to favour a minimal, textural, and sculptural aesthetic, with a neutral colour palette. I’m drawn to calm and serene spaces, likely as a counterbalance to life’s chaos! Whether in interiors or fashion, my goal is always to create environments that feel harmonious and intentional.

“TASTE is deeply personal, shaped by your unique perspective, experiences, upbringing, and lifestyle. I believe it’s about creating environments, fashion, and objects that inspire you and bring joy.”

How do you look at the concept of taste?

Taste is deeply personal, shaped by your unique perspective, experiences, upbringing, and lifestyle. I believe it’s about creating environments, fashion, and objects that inspire you and bring joy. But it’s so subjective and personal.

Aesthetics and taste have become extremely coveted and widely shared. How do you think social media has affected how people develop style, and has it made it more difficult to carve out a distinct and individual style? How do you approach that?

This is such a great question. Personally, I use social media as a tool to absorb imagery and content in areas that interest me—fashion, art, architecture, and furniture. It has been instrumental in educating myself on these topics, and it has introduced me to places, artists, and designers I might never have encountered otherwise. It’s connected me to a wider creative community, which I love.

That said, it’s crucial to expand your references beyond social media—through books, museums, exhibitions, and travel. It's about broadening your perspective to avoid falling into the sameness or ubiquity that can sometimes dominate social platforms. For me, cultivating a distinct style means blending influences from a variety of sources, not just one curated feed.

Can you think of a moment when an artist’s work fundamentally shifted how you see beauty or design?

Rather than a single moment, I think of people and experiences that have exposed me to art and design, shaping my perspective over time. Working in a creative industry from the age of 16 has allowed me to travel, meet inspiring individuals, and experience things that naturally shape the way I view beauty and design. It’s been an ongoing evolution rather than a single pivotal moment.

What was the first art piece or design object you bought? What made you choose it, and how has your collection evolved since?

The first significant piece of art I purchased was an Ed Ruscha piece called Sin with Olive. It wasn’t terribly expensive—it was what I could afford at the time, about 12 years ago—but it felt meaningful. I had just seen a major exhibition of his work at LACMA in Los Angeles, which was my first real exposure to him. I was drawn to his bold use of typography, colour blocking, and playful messaging. Over the years, my collection has grown to include works by artists whose pieces I feel a deep personal connection to.

The Drawing Room is home to a pair of ‘Chinese Hat’ Paavo Tynell floor lamps, a pair of Alexandre Loge Nisos ceiling lights, an Albert Tormos Stone table Lamp, a Mid Century Sofa by Harvey Probber upholstered in Boucle wool, an "Early Minguren II End Table” by George Nakashima, a Pair of 1950s Fritz Hansen armchairs, an Angelo M side table by Alina in red travertine and a Panneau Tapestry by Simon Prouve. Photography by Simon Upton.

The Dining Room features a pair of Chromium-plated tubular steel and wickerwork chairs by Marcel Breuer from circa 1926 – 1927 and a pair of Alexandre Loge Nisos ceiling lights in sculpted plaster. The space is filled with a curated selection of artworks including the Sun-Up Triptych by Tarka Kings (b.1961). Crafted from unique Japanese paper, glass and balsa wood on plywood, as well as a piece by Sarah Rapson from 2021 called stuck on earth bloccato sulla terra. Photography by Simon Upton.

We see more cross-pollination across creative industries, such as fashion designers creating furniture or artists collaborating with hospitality brands. How do you view this trend, and do you think it enhances design?

I love this trend! Collaboration can bring incredible results when it feels authentic and a little unexpected. It makes people pay attention. I think there’s so much potential when different perspectives and disciplines come together to create something new. That said, the success of a collaboration really depends on the individuals and brands involved. When done well, it can elevate design and push boundaries in really exciting ways.

You spend time between the US and the UK. Do you notice differences in how people approach design and style? Do you feel your own style shifts as you move between continents?

Absolutely. Environments and climates play a huge role in shaping style and design. For instance, living in Los Angeles is completely different from living in London. In the US, you often have more square footage and newer buildings designed for contemporary living, whereas in the UK, you’re usually adapting period homes to modern needs.

This difference definitely influences my choices. In the US, the spaces are designed to be open and modern, while in the UK, the focus is often on preserving period features and finding clever ways to make older spaces functional. My personal style shifts in response to these environments—I find myself adapting to what works best for each location.

In an age of rapid trends, how do you find patience and intention when curating a personal space?

For me, it’s about being intentional and educated when making significant purchases, especially antiques or investment pieces. I want to love a piece for years to come, so I gravitate towards timeless, minimal designs—often mid-century furniture with organic, sensual shapes.

In my London townhouse, for example, the colour palette is light and natural, and the artwork is largely organic and textural. Pieces like the Simone Prouvé hanging in the drawing room or the clay-glazed work by Anna-Bella Papp bring warmth and depth to the space. Interestingly, as the project evolved, I realised many of the artists I was drawn to were female, which gives the house a distinctively feminine energy.

While trends and tastes evolve, I think the key is creating spaces and choosing pieces that resonate deeply with you. Over time, you can layer and evolve the space as your style and needs change.

The Master Bedroom is filled with a collection of design and artworks. Design pieces include The Skirt Ceiling light in Calico with solid bronze fixture by Rose Uniacke, an Akiko Kuwahata Stitch table and stool, Fly wall lights by Pierre Chareau, a leather wrapped mirror by Jacques Adnet, a large cream cashmere blanket by Rose Uniacke and an English 19th century bolection in Paonazzo marble fireplace, with original slip in matching material punctuated with a bullnose moulding in Statuary marble. Objects include an inlaid bronze flower vase Japan from the Showa period (20th century) and a walnut lidded box by Alexandre Noll from the 1950s. Photography by Simon Upton.

Could you tell us more about the project you worked on with Rose Uniacke? What made you gravitate towards her work, and what was the process like?

I first met Rose socially about ten years ago, and it was through that introduction that I discovered her exceptional work and her interiors business. When we decided to renovate our London family home, she was the natural choice, and the experience was so positive that when I purchased my townhouse, there was no one else I wanted to work with. The townhouse is a Grade II* listed Georgian property, and Rose’s ability to balance historical integrity with modern elegance made her the perfect collaborator. Her sensibility—combining richness, character, and warmth with a sense of freshness—has always resonated deeply with me. She brings a timeless quality to her work that feels both deeply considered and effortlessly inviting.

Working with Rose was an absolute pleasure. She completely understood my vision for the space, and we worked in tandem to bring it to life. It was a true collaboration, blending her expertise with my own ideas and preferences, and the result felt seamless and deeply personal. I garnered so much from the process, and I feel incredibly fortunate for the experience. The space brings me so much joy and truly feels like home.

Who are some of the artists and designers that excite you right now?

I’ve long admired the work of Rachel Whiteread, Alicja Kwade, Agnes Martin, and Louise Bourgeois. Their creations speak to me because they feel deeply thoughtful, sculptural, and undeniably feminine, yet there’s a rawness and a sense of quiet brutality that adds layers of complexity. Their work has an understated power that commands attention without overwhelming a balance that I find incredibly inspiring.

More recently, I’ve become captivated by Anna Weyant’s work. Her bold, playful approach feels fresh and dynamic, and I believe she’s one of the most exciting female artists to emerge in recent years. Her pieces have a unique charm and wit that draw you in and keep you intrigued.

In my townhouse, the furniture I’ve curated includes designs by Charlotte Perriand, George Nakashima, Isamu Noguchi, Paavo Tynell, and Gio Ponti. These pieces are incredibly special to me; they hold such character and craftsmanship, and living alongside them brings immense pleasure. They’re functional yet artistic, and each one feels like a sculpture in its own right.

On the fashion front, I’m thrilled about Phoebe Philo’s return with her eponymous line. It's a moment we’ve all been waiting for with great anticipation. I’ve been a devoted customer of The Row since their very first collection, and I still wear pieces from that time; they’re timeless, impeccably crafted, and effortlessly chic. Pieter Mulier’s work for Alaïa continues to excite me with its innovation and elegance. And of course, the upcoming debut of Mathieu Blazy at Chanel is something the entire fashion world is eagerly watching. It's an exciting time to see how these designers evolve and push creative boundaries.

This interview has been edited and condensed for clarity.