In projects signed by Marta Mantero, there is an atmosphere that further enhances the dialogue with the surroundings. With an eclectic and relaxed style, the interior designer seamlessly flows spaces with lightness and balance. Her ability to create and reinvent environments is at the core of the people who will inhabit the homes, where furniture and decorative pieces communicate with each other without disturbing the tranquility of the places.
What influenced you the most when you started your journey as an interior designer?
Although I studied Interior Design, for a long time I only had stores—although I collaborated with architects and interior designers, commissioning and supplying pieces from Morocco and later, from India. I started importing pieces from Morocco in the early 1990s when it was a novelty, and this country was undoubtedly a significant influence on me. Not to mention my mother, who has a great aesthetic sense and has always paid great attention to the decoration of her homes.
Shortly after opening the store in Grândola, you invested in Comporta, remaining faithful to the concept.
I started spending more time in Grândola, where I opened a store, as there were more and more holiday homes in the region at that time, which is why I ventured into doing the first decoration projects at the request of clients and friends. The store in Comporta emerged casually through a friend, British artist Jason Martin, who rented a warehouse for his studio and suggested that I have a store in an independent space within that warehouse. Initially, Rice only opened in the summer, but in 2016, it moved to the center of the village and is now open year-round.
What is most important to you when conceptualizing a decoration project?
When conceiving a project, the dialogue I establish with clients is essential, working closely with them to shape what they want for their home. Empathy plays a crucial role in this process, and it is essential that I identify with the client’s vision since we establish a lasting and intimate relationship. Throughout my career, I have been fortunate to identify with most of the clients I have worked with, many of whom are now my friends.
Is there a specific style that we can identify as your signature?
More than a style, I have a taste that spans across various styles. The common thread in my work is my taste and not a specific style. I like to mix things intuitively. I don’t follow formulas; each project is different, just as each client is different. I am finishing a project in the south of France that has been ongoing for three years. It’s in Gordes, a very beautiful place in Luberon. I feel privileged to have the opportunity to work on this unique project, which is a significant challenge, very different from what I usually do. My work is an extension of who I am, and I maintain a small team to ensure that each project receives my personal attention. The bond with the client is fundamental, which is why all creative aspects go through me, limiting the number of projects I can accept. I have no plans for expansion because I believe it would compromise the intimacy and quality of my work, which is essential to me.
How do you balance aesthetics with functionality when designing a space?
The balance between aesthetics and functionality is a major concern in my work, which is divided into two parts: architectural consultancy, starting to work with architects at an early stage of the project—often bridging the gap between the client and the architect—and interior design. My approach is guided by the client’s needs; it’s crucial to listen and interpret their intentions, understand their lifestyle, so each project is unique and reflects the uniqueness of each client.
Do you still renovate houses or cabins?
I do it less and less since the trend in the region is increasingly the construction of new houses, some inspired by local architecture but with more space and comfort. As a result, most of my projects start from scratch nowadays. I believe that decoration should be in harmony with architecture, and it has been very enriching to work with highly talented architects who have taught me a lot. I have done some more contemporary projects that deviate from the typical style of Comporta, as the challenges have evolved over time, but this evolution has been rewarding.
Do you have a reference project or a challenge you’d like to share?
I think the project that stands out as the biggest challenge is the house in the south of France! It has been a unique experience and a privilege to work on the project of a historic house, which was a significant departure from my usual projects. Although I have received requests to do more houses outside of Portugal, my goal is not to expand in terms of logistics or team. I prefer projects closer to home, which allows me to dedicate time to other areas beyond decoration.
Apart from decoration, are there other projects you’re currently involved in?
I’m involved in a different sector, although it also has a creative side. I am a partner at Pego da Moura, a wine-producing company, with vineyards in Grândola and Melides, alongside Manuel Ricciardi and Jason Martin. One of our wines, Alfaiate, is considered one of the best whites in the region. We recently launched another wine, Caveira, named after the village where some of the vineyards are planted. Wine is also an art, and having Jason as a partner adds an even more artistic aspect to the company, as he designed the labels for Caveira and the limited edition of 250 magnums with boxes painted by him.
Traveling has been significant for your inspiration. What influences manifest in your work?
I find inspiration everywhere; you just have to be attentive and open to what surrounds you. I discovered the Comporta region through Pedro Espírito Santo in the late 1980s, and it was a great inspiration for me! I try to keep the region’s heritage alive through details, even integrated into more minimalist interiors. Architects and clients also contribute to my inspirations, opening new doors, new ways of looking; the places I go, the people I exchange ideas with, all of that is part of the creative process. Never forgetting travels.
Your work is widely featured in international press. What does this recognition mean to you?
I feel tremendous pride! I never imagined having one of my projects on the cover of Côtè Sud! I am fortunate to have producers and photographers who appreciate my work, with whom I share new projects, and there is rarely a project they don’t want to photograph. We are waiting for spring to photograph the project in the south of France and another one near Melides. It is very gratifying to see my work through the lens of great photographers, to see it recognized and featured in international press, in magazines that I used to buy in the past, never thinking that one day my projects would be on their pages.
In terms of the future, what can we expect from your creations?
It will depend a lot on the projects that come up. But I feel that people want to spend more time at home, prioritizing comfort, serenity, and spending time with family and friends, which is also very important to me.