It may come as a surprise that interior designer Patrick Sutton’s office is a bit generic.

“It’s basic,” he admits from behind his simple wooden desk that’s stuffed inside the Federal Hill rowhouse his company has been occupying since September 2001. “We definitely didn’t try to design a showcase—it’s basically a vessel to create design.”

And create design Sutton has—after 30 years in business, his portfolio is as thick as it is impressive.

It turns out Patrick Sutton is both a “normal guy” who likes football and baseball games, hanging with his kids, vacationing with his wife, and calling his 13-year-old dog, Stella, the “center of my world”—and a world-class designer with movie-star hair, a résumé full of industry awards and accolades, and a roster of clients that could best be described as fancy.

“I’m going to tell you this—you’re going to laugh at me,” says Sutton. “I’m 61 years old but I still think of myself as 25 trying to make it.”

He says this as his staff—17 workers “shoehorned like Keebler elves” into the building, he jokes—work on some 40 projects, including six currently for the Baltimore-based Atlas Restaurant Group.

While Sutton reflects on three decades in the business, he looks around the room. Yes, the space is surprisingly no-frills, but not without its personal touches. He gestures to a photograph by contemporary Dutch visual artist Hendrik Kerstens depicting a stoic-looking woman in a red turban, a playful nod to the works of the Dutch Old Masters. “It’s art I can afford,” he jokes. “It’s in the tens of thousands, not hundreds.”

On a side table between two bookcases, sits Footloose in France, the first book written by his father, Horace Sutton—a travel writer and a huge influence on Sutton’s life. “When I went on my book signing across the United States, I carried this to honor his memory, which I thought was kind of cool.”

Next to the book is a candy corn lamp he bought at auction. Yes, the entire base is the shellacked Halloween treat and the shade a fuzzy yellow and pink. “My favorite is when the air conditioning turns on—those feathers dance a little bit.” It’s garish and a bit of surprising décor until Sutton adds, “I put that there so that when people come in here, they know I don’t take myself too seriously.”

From afar, Sutton’s childhood seemed glamorous. His father was a pioneer in transatlantic travel journalism, so young Patrick grew up tagging along on his overseas trips to the most beautiful places in the world—“hotels, restaurants, palaces, things like that,” he recalls. He remembers as a little boy just soaking in all the sounds, sights, and smells.

“You’re wandering down beautiful hallways or strolling through gardens, and you just get a sense of the design and the romance and the lifestyle.”

But the other part of Sutton’s upbringing was his mother’s ongoing struggle with mental illness. He didn’t know any other life, but suspected something was different at his home. “It made me an avid listener and observer,” says Sutton, qualities that serve him well in his work.

And there was something else he came to realize after years of therapy. “I could never heal her, so I’ve been trying to heal everybody else through design,” he says.

His first foray into design came in high school when a teacher recognized a natural talent in his architectural drafting class. After a summer program at Harvard called Career Discovery, Sutton headed to Carnegie Mellon University to study architecture.

“I did really, really well there,” says Sutton. He was so immersed in his studies he would keep a sleeping bag under his drafting table so he didn’t need to waste any time walking back to his dorm to sleep. “I just wanted to get all this design out. Like, if you talk to any artists, they’ll tell you that they have this overwhelming need to get it out. And I had that.”

After graduation the job offers rolled in. Sutton didn’t want to go back home to New York, so he figured Washington, D.C., was the next best option—close enough to visit his family but “far enough away that I can make my own path.”

But he didn’t feel a connection to the city when he visited. One of the firms pitching Sutton mentioned their headquarters were in Baltimore—“just an hour up the road,” they told him. Sutton went to take a look.

“I had just spent four years of my life in Pittsburgh, which is just like Baltimore. It’s a working-class city of neighborhoods. And so, I saw something very familiar, and I thought it was charming. And I said, ‘Okay, I’ll give it a year.’ That was 1985.”

He lasted at the firm for nine months, but hated how corporate it felt, so he switched to a smaller agency, Robert Kaplan & Associates. Within three years, he was a partner.

“I was gung-ho about it, but I started getting a little disillusioned on the architecture piece, because I would design these houses, and then they would hand it off to some interior designer whose vision was completely left field of what I thought the project wanted to be,” says Sutton.

And so, he began adding interiors to his architectural projects. “That was the first time that I started to realize that there’s a whole story here about the people that are living in these houses that need to be crafted and curated as a whole,” he says. He found that he was drawn to the more human aspect of interior design.

“I think that this is going to be an unpopular thing to say, but I think it’s true that most architects have to disassociate a little bit from the owner and think a little bit more abstractly than someone in the interior design business,” he says. “We really focus on lifestyle, and how are people going to live in these spaces and have meals and entertain and raise their children.”

For Sutton, architecture was about order and structure, but design was about living and connection—and he craved the latter. So, he officially switched from architecture to interior design.

“I approach each project like a story that’s waiting to be told,” says Sutton, who has truly leaned into the idea of storytelling through design. (His second book is due out next year.) With every client he asks about their “hopes, dreams, and aspirations” and couples that with the house’s energy—“that genius loci,” he says referring to the protective spirit of a place. It sounds a little woo-woo until you see the unbelievable spaces he’s created that are luxurious yet comfortable.

“It’s not surprising that my childhood was in palaces, restaurants, and hotels, and the three things that I do are luxury residences, restaurants, and hotels,” he says.

He attributes a lot of that success to staying firmly planted in Baltimore. “If I had gone to New York, my career probably would have started faster, but look at all the opportunities [Baltimore] gave me,” he says, mentioning Pazo, his first restaurant design collaboration with Foreman Wolf. That place had a festive decadence, a far cry from other bars and restaurants in the city, says Sutton.

When he first started, he had to “smuggle design in the projects” because Baltimore was so conservative. He designed the entire Pendry Hotel for Kevin Plank and penned the vision statement for Port Covington, one of the city’s newest developments. He has now designed countless restaurants with Atlas Restaurant Group, too.

“What sets Patrick apart is how well-traveled he is,” says Alex Smith, Atlas’ president and CEO. “He’s seen so many different concepts through his travels around the world, and he brings that global perspective into his work. He’s not just focused on one aspect, like fabric or décor—he thinks about the entire experience. From lighting to candles to artwork, he creates an immersive environment that feels cohesive and thoughtful.”

Clients also hire him because he gets what restaurants and hotels have to do—it’s about the immediate wow. “You’re designing for a shorter period of time,” says Sutton. “So, it’s kind of like, if you’re a guy, and you walk into a bar and it’s dimly lit, you see this hot, beautiful woman at the bar, and you’re like, ‘Oh, I’d love to spend a night with that person,’ but you don’t necessarily want to marry them.”

There’s a different design aesthetic when you are capturing someone’s attention for a few hours or days verses day in and day out. “So, in a restaurant or hotel, there’s more eyeliner, you’re really pumping up the volume…in a residence, you’re creating a background for life.”

He smiles. He loves good metaphor almost as much as he hates the word legacy, a word often used to describe his body of work.

“It sounds a little haughty to me. I don’t even know what that means.” But he understands how lucky he is to still be busy, relevant, and even revered 30 years into a career—and as much as he loves the big, glitzy projects, he’ll never stop designing people’s homes.

“You know I’m going from Pazo to the Pendry to writing this vision brief for an entire community, but meanwhile, like my day-to-day, I’m picking out the trim that goes on the edge of a drapery.”

Two ends of the spectrum, but all important. Thirty years of hard work and therapy have gotten him to a great place.

“I became a happier person. I calmed down. I had nothing left to prove,” says Sutton.

He also finds joy in mentoring the next generation of designers. “I can move from being quarterback to coach, and I think that’s fulfilling.”

From sexy sconces to LED cordless table lamps, everything is illuminated at area restaurants, as fanciful light fixtures provide a de rigueur artistic element.

“The number-one thing you’re trying to do in designing a restaurant is create a transportive experience,” says designer Patrick Sutton, who has given rise to some of the most stylish spots in town (from Cinghiale to Monarque, both in Harbor East). “Lighting becomes very important in setting the tone. If you’re doing something that is dark and moody, you’re going to employ a lighting design that has areas of darkness punctuated by moments of light, and that creates that mood of mystery. If you’re trying to create a gathering place, you’re going to create a brighter atmosphere.”

(Interestingly, lighting not only plays a critical role in the overall experience, but can also even impact appetite. According to a 2014 study by the Rochester Institute of Technology, bright light can decrease a diner’s length of stay, while dim light corresponds with eating more slowly.)

Note the recent trend toward lighting individual tables with elegant votives and LED lamps, such as the pink “flowerpots” at No Way Rosé in Federal Hill, that lend a warm, mellow glow.

“Creating a feeling of romance is always top of mind,” says Sutton. “Those little table lamps create a pool of light at your table. And when you have that puddle of light at your table, it gives you a sense of intimacy.”

Table lights provide an unexpected bonus, as well.

“Light coming from a source below eye level makes everyone look better,” says Sutton. “It takes all the wrinkles and shadows away—everyone seems a little more attractive when the lighting is coming from the table.”

You Do You

Mona Hajj, Mona Hajj Interiors

“We’ll see interiors with a more natural, effortless look that are beautiful and relate to the client, whether it is a well-traveled global interior or a simple lived-in interior. Less interesting are the staged and stylized interiors. They are more picture-pretty than livable.”

Plaster and Marble Sculptures

Katie Destefano, Katie Destefano Design & Owner of Curiosity…Intriguing Objects for the Home.

“Plaster and marble busts have been making a big comeback, as they add a lot of dimension and expression to a vignette. Try putting one in an unexpected place like your bathroom or closet to hold some of your accessories. If a bust still seems like too much, try a torso, hand, or even foot.”

Interior Greenery

Stephanie Bradshaw, Stephanie Bradshaw

“Plants, plants, and more plants. And bringing the outside in, not just with greenery, but natureinspired hues and warmer tones.”

Groovy Designs

Darra Sargent, Dear Darling Design Studio

“This year, we are moving away from all of the mid-century-inspired decor and moving on to a new decade—the ’70s. Think lots of oranges, yellows, and teals; macramé, rattan, velvet, terrazzo, fringe, and shag. All forms of design have been featuring ’70s-style shapes (half circles, half ovals, scalloped edges) and ’70s-inspired fonts. I think this year is going to be all about that hippie style, with a big focus on sustainability.”

Intermingling

Carmen Brock, Trohv

“Sustainable products are thankfully ever-present. It’s shifting away from being a trend and more toward a way of living long-term. This all seems to be co-mingling in a backdrop of minimalism, inspired by the declutter movement, a trend that I hope continues.”

The True Meaning of Home

Patrick Sutton, Patrick Sutton

“We have seen a strong shift toward decluttered, modern interiors filled with meaningful art and art objects—rooms that are fresh and forward-thinking while still warm and comfortable. People seem to be moving toward simplicity, quality, and a desire to make each moment of their lives memorable. And they look for their homes to reflect that desire.”

Marco Ricca

Greener Kitchens

Laura Hodges, Laura Hodges Studio

Sustainability in kitchen design is coming in strong for 2020. “We love Grohe’s new smart faucet that integrates filtered water, sparkling water, and tap water all into one faucet, eliminating the need for all kinds of plastic water bottles.”

Liveable Space

Kerry Leikus, Kerry Leikus Designs

“All white walls are out. It shouldn’t take most homeowners very long to see the obvious reasons why the white trend is less than desirable. Maintaining the pristine quality and allure of the all-white look can be difficult, especially if people intend to live in the space.”

Boho Out The Door

Quintece Hill-Mattauszek, Studio Q Designs

“We are going to start to see less and less of the free and flowy trend of the bohemian and Jungalow styles. Patterns such as Shibori, boho fringe, and woven rattans will step to the side to make way for a more tailored approach with a resurgence of upscaled vintage and retro pieces. Forget the throwaway pieces and look for the character and charm that can be modernized to fit your lifestyle.”

Colored Ceilings

Julie Lilienfeld, Athena Hoffberger, and Ryan Haase of Wishbone Reserve

“Painted ceilings are where it’s at. They make the room feel cozier and can hide a number of unsightly structural elements. Don’t be shy with your color choices. There’s lots of bright pops of color: magenta, cobalt blue, emerald green, sunshine yellow, and acid orange.”

Jewel Tones

Raina Smallwood, Cedar & Cotton

“What’s winning in 2020: deep, bold colors, specifically jewel tones. Hunter greens, deep teals, velvety plums, and even black are everywhere, and not just on our walls, but on house exteriors, kitchen cabinets, and sofas. Our homes feel more personal and lived-in, and that’s definitely a win.”

When Patrick Sutton first arrived in Baltimore, it was 1985 and he figured he’d give it a year. More than 30 years later, he says with a laugh, “I just never left, you know?”

Sutton grew up in New York. His father, Horace Sutton, was a fairly renowned travel writer with a big personality, and Sutton had a self-described fanciful and magical childhood as he traveled the globe with his parents. “I was afforded the ability to see the world’s most beautiful places and most storied locations,” he says. But that wasn’t his whole story. Sutton’s mom had schizophrenia. “It was not something you talked about.” And this very deep, dark secret shaped the future designer. “In order to survive, I had to become a very fast student of everybody else,” he says. “And so I became intent on watching everybody’s interaction with one another, and I became a de-facto expert on people’s non-verbal communication—just being observant. I also learned empathy. That came out of survival.” And it shaped his entire career. “I’m able to listen intently to what someone is saying and, quite frankly, what they’re not saying.”

After graduating from architecture school, Sutton had offers at firms in his hometown, but knowing what a huge shadow was cast by his father, Sutton looked elsewhere. He had an opportunity in D.C., but he didn’t have an instant connection to the city. One of the firms mentioned their Baltimore headquarters and, after a visit, Sutton was charmed. And “to be truthful, in 1985, Baltimore was not the bastion of design,” he says. “Nobody was really spending any money or investing in design the way it is now.”

His fingerprints are now all over the city, from the Sagamore Pendry Hotel to restaurant interiors—including Cinghiale, Tagliata, and Rye Street Tavern—to countless home renovations, and, most recently, a big, beautiful book aptly titled Storied Interiors. The book not only includes gorgeous photos but the inspirations behind the designs. Sutton studied architecture but felt “it wasn’t fulfilling because I wasn’t able to complete the story from beginning to end.” So he switched to interior design. Now at the pinnacle of his career, a book was just the next natural step, especially for the son of a storyteller—the book is dedicated to his father.

Sutton says he was influenced by Under Armour chair Kevin Plank, for whom the designer has worked for more than a decade. Plank is also a teller of stories. “We see the world in a very similar way,” Sutton explains. “And he was always like, ‘What’s the story behind this?’ He in some ways helped me formalize the fact that I was writing narratives before I was doing projects.” And because of that, he knew his book had to be more than just a pretty coffee table book. It had to combine both his love of design and his need to tell its story.

It took some convincing to his book editor. “The reality is she’s right that the majority of people who buy coffee table books flip through the pictures. But that isn’t who I am, and that’s not the story I have to tell.” And each project tells a different narrative. Sutton’s ability to adapt and not pigeonhole himself in one style has been his biggest success.

“The approach towards storytelling in a residence versus a restaurant or hotel is about the attention span that you’re designing towards,” he says. “So, if it’s a residential project, you are creating an environment that has to be adaptive for a lifetime. When it’s a restaurant, I want it to capture attention for two hours, and if it’s a hotel, a couple of days.”

“I’ve had clients—and these are big clients, these are people who interviewed designers from Paris—and they said to me, ‘You know, it’s interesting. I looked at your work that you did, and none of it was anything that I wanted. However, all of it was very well done. And so what that told me is that if you can do this for each one of those clients, you can take what I want and deliver it for me.’”

As Sutton looks around his Federal Hill office, he says, “This city has afforded me the opportunity to shine.”