Growing up a “beach baby” in Florida, Sergio Mercado studied architecture at the University of Miami and worked at a local showroom helping designers and shoppers select furnishings. Drawn to contemporary neutral style as a teenager, he designed his own room. “I had my mom buy me a roll of canvas, grommets and rods for drapery. The entire room was a canvas color—I wanted light,” he notes. Mercado moved to San Francisco where he worked in interior design before coming back east and earning a spot as creative director at Clodagh Design.
Since starting his own firm in 2011, he specializes in residential projects and hospitality interiors along the East Coast, and is acclaimed for creating breathtaking spaces “at the crossroads of contemporary design and timeless comfort.”
Mercado and his spouse, who works in digital media, and their two rescue Staffordshire terriers (Rocco and Gia) live in Gramercy Park and spend weekends at a house in upstate New York with views of the Catskills.
Early on you were torn between fashion and interior design. Why did interiors win out?
Fashion is of the moment. The idea of completely transforming a space that someone would be able to inhabit and enjoy for years was more interesting than designing a garment.
Why did you leave Miami for California?
At the time, the color palette and materiality of Miami seemed very trendy, and the contemporary West Coast layering of neutrals, the use of solid materials, natural fibers and things that are handmade seemed more sophisticated and comforting—comfortable and cozy.
Describe your signature style.
Laid back luxe. That warm modern that makes you want to kick off your shoes and walk around barefoot.
What is “stealth wealth”?
It’s the layering of very complex materials or finishes, highly textured fabrics, furnishings with soft lines and curves—all those things can add a sense of richness to an interior.
How do you make industrial materials seem warm and luxurious?
You add contrast by incorporating details that are rich—you add something refined—a wrapped leather on the handle of a set of steel and glass doors or a bronze finish has a warmer tone than blackened steel.
How did you approach participating in the Kips Bay Decorator Show House?
In a showhouse, you take your style and bump it up a few notches—push the envelope. My aesthetic is very serene, so that’s what I did. We were on the top floor with a river view, so the focal point was the cloud fixtures and sight lines creating a calming, soothing, ethereal environment that people didn’t want to leave. People would say “I could spend all day in this space.”
How do you utilize the windows in your interiors?
I love looking outside—I think people are drawn to the outdoors. It’s about the layout: I position the furniture to have a good view even in an urban environment.
How do clients participate in your work?
I like integrating clients’ personal things into the home. Room by room, I ask “what would you love to have?” Maybe it’s a cigar humidor or a beverage center in a bedroom. It personalizes the space.
Describe good design.
A certain level of restraint. There is an art to restraint, not filling a space with too many things. I think beautiful things need room to breathe—give them the space to just shine.
What do you deplore in design?
When something is out of scale. I see it happen a lot—a lamp is too big for a side table, or a coffee table is too small.
What is the appeal of New England?
So many homes are historical, and you get the contrast of contemporary and traditional. I find that interesting. I might be drawn to an architectural aspect of the home—trim, door frames, wall base—and repurpose it or use it for inspiration.
What is a space you’d like to decorate?
The Gramercy Park Hotel. I live so close. During Covid, it was shut down and I don’t know if it will reopen. The architecture is beautiful, the exterior is pretty, the roof terrace is amazing—one of the most beautiful public spaces.
