When Chicago-based designer Summer Thornton began renovating her newly purchased Lincoln Park office—a late 1800s Victorian house—she was inspired to create a spirit of 'feminine fantasy' for her team. She recently spoke with E/S owner Franck Nataf about the two-year project, the vision behind it, and the materials that brought it to life.
Boutique Collection : BC 203
European Oak / Engineered Planks / Standard Grade / 7 1/16” wide planks
Lumiere Collection : Crillon
European Oak / Engineered Planks / Premium Grade / 7 1/6” wide planks
Photography: Marta Xochilt Perez
Video: Daniel Kelleghan Photography
Franck Nataf for Exquisite Surfaces: What were your top priorities for this renovation, and how did the process differ from client projects?
Summer Thornton: This process was really, in effect, quite similar to our process with clients. When we begin a project, we always want to start with the idea, the fantasy, the dream. What can we create out of the space that we're given? So we look at not only the location that we're in, but the age of the building, the style of the building, and then from there we start creating a dream of what that could be. And in this case, we have this old, beautiful Victorian building, and we were trying to create a feminine fantasy—a dreamy, elevated version of an office space.
FN: It definitely feels like a dream when you walk in. Your designs often feature bold contrasts and unexpected elements. How would you describe your style, and what do you hope people take away from it?
ST: It’s always hard to pin down one style, but some people describe mine as “fearless,” and I really like that. I’d say it’s a fearless, feminine approach that defines much of our work. What’s most important to me is creating a sense of fantasy or otherworldliness in a space—something I think modern design often overlooks in favor of strict function. People can be so afraid of making the wrong choice that they forget to dream. We start with that dream. We ask, "If you could do anything, what would you want this space to be?" Once we’ve imagined that, we layer in the practical considerations afterward.
FN: Can you tell us more about the building itself? When I walk in, it feels like everything’s always been here—the molding, the windows, the atmosphere.
ST: That’s actually the biggest compliment—and the biggest insult! Because this space was in terrible condition when we found it. But that gave us a blank slate. Our office building is a late 1800s Victorian—it's actually called a 'painted lady'—which I thought was appropriate for the feminine vibe that we were going for inside. There were a few great elements: tall ceilings, lots of natural light, and some original detailing we could salvage. We preserved those elements or, like the window casings, we recreated and matched them in the places they were missing. We changed the layout entirely but stayed true to the building’s original character.
FN: How did it feel when you started seeing it all come together?
ST: As with all my personal projects, this was a labor of love. I knew I wanted the space before I even stepped inside, just from the exterior and the light. When I did see it, I had second thoughts because of the condition—but that just meant more creative freedom. Our team even helped with some demo—just for fun. And when the floors went in, it was the first real sign that things were coming together. Seeing that finished surface after staring at drywall and plumbing for months was a huge moment.
FN: How does it feel now that the studio is complete?
ST: It was worth every bit of effort. Not only does it look beautiful—it feels amazing to be here. It’s a joy to work with my team in this space, and when we bring clients in, they’re genuinely excited. So many office spaces lose that sense of warmth, but we worked hard to make it feel residential, homey, and inspiring. I think we really achieved that—through both the materials and the layout.
FN: When you're selecting materials, what qualities do you prioritize? For example, what drew you to the flooring you used here in your office?
ST: The first thing I look for is character. A product has to feel authentic—it should have a natural charm that can’t be faked. Then, I look at color and how it fits into the overall color story for the project. Finally, we consider practicality. This is a working office with heavy foot traffic and movement, so we needed a flooring that could hold up. We were thrilled to use a durable oak floor that’s not only practical but beautiful. Beyond appearance and quality, I think it’s crucial to think about how a material feels in the space. Flooring is a big commitment—you don’t change it often. So it has to not only look good, but feel good underfoot and to the touch. Even if people don’t consciously notice, that tactile quality affects how they experience a room.
Designer Summer Thornton shares her thoughts on the superior quality of natural materials and the benefits of choosing them for her one-of-a-kind projects
FN: I’ve heard you mention how you’re not a fan of site-finished floors. Is that connected to your preference for a natural, aged look?
ST: Exactly. Site-finished floors often have a flat sheen that feels artificial—like they’re trying to look perfect rather than aged or lived in. I want materials that feel like they were pulled from the earth, with all their beautiful imperfections. Something raw and real, not overly processed.
FN: Is that the reason you prefer them over site-finished options?
ST: With prefinished flooring, what the client sees in the sample is what they’ll get. There’s still natural variation, but we’re not relying on a contractor to match a stain by hand. The factory finish process adds more depth and richness—far beyond what you get with a single on-site coat of stain. It also saves time during installation, which can be a big advantage. And you get more variation between boards, which creates a more natural, lived-in look.
FN: What about when you want to adjust the color or tone of a natural material? How do you balance that with keeping it authentic?
ST: It’s a challenge. You want the color to feel as though it was always meant to be that way—not forced. There should be depth in the wood or stone, not just a surface treatment. I always say, there’s an honesty and integrity to truly natural materials. And to me, that is the ultimate luxury—living with materials that age with you.
FN: The finishing process we use involves multiple steps, which lets each board react differently to the treatment. That’s what creates the depth and variation—it's not something you can easily recreate on-site.
ST: Exactly. When people try to copy it with a basic stain, it ends up looking too uniform—almost like they painted the floor. And then they realize it’s not the same and want to go back and fix it. That’s why I push for this kind of product. I use it in my own home, so I can confidently recommend it. Exquisite’s products have soul. That’s something that can get lost when companies try to check every trend box or offer overly broad collections. With your products, you can tell every option was chosen with purpose—because it's beautiful or has a unique quality. There’s a story behind it, and that’s what resonates with me as a designer.
FN: Do you ever have trouble convincing clients to go with the materials you love?
ST: It’s gotten easier. But sometimes there’s pushback—from contractors focused on ease of installation, or clients worried about maintenance. That’s why it’s helpful that I’ve used these materials in my own home and workspace. I can speak honestly about how they age and perform over time, which builds trust.
FN: We always try to be intentional with our products—sourcing, craftsmanship, the story behind them. It’s not just about the look.
ST: That’s why I love working with your team. Because we design with that same level of intentionality. When I bring in your products, they align with the story we’re creating for our clients. If someone doesn’t notice the difference, I think, “Are you kidding me?” [laughs] Because it’s so obvious to me. There’s so much care and thought behind your materials—where they come from, how they’re made—they’re impossible to replicate.
FN: It’s almost like someone trying to replicate your design work—good luck.
ST: Exactly. Show me what you’ve got!
