Inside Luxury Private Jet Design with Pavina Callies-Papé

Pavina Callies-Papé talks to COVER Editor Lucy Upward about the specialised world of interior aviation design

In 2025, the use of private jets hit record highs, meaning the need for luxury aviation design is a thriving business.

Having fallen in love with planes at an early age, Pavina Callies-Papé works on bespoke aviation projects through her two German-based companies Callies Design and Aviation Décor.

This work has included VIP and VVIP projects for heads of state. A big fan of rug design, the Swiss-Thai aircraft interior designer has not only worked on freelance projects for The Rug Company but also recently released a fabulous new machine-made carpet collection, titled Imprint, with Kalogridis International.

Here, Callies-Papé discusses her 18 years in private aviation design and the rugs she specifies for projects, while also introducing her new rug collection.

What first inspired your love of aviation design?

It was truly a love-at-first-sight moment. On my birthday, I came across a Global Jet advertisement showcasing a cabin interior and promoting their services. That’s when I discovered there was another world, and I was captivated by that cabin and the flying environment.

From that moment on, I became interested in aviation interiors, leading me to choose it as my final study project.

What kind of companies have you worked for? Where are the jobs for aviation interior designers?

I worked for ExecuJet in Zurich, a charter and aircraft management company. That’s where I was first exposed to the aeronautical industry and its specialised suppliers.

You can enter this field through other paths, such as working as an industrial designer or directly with aircraft manufacturers.

What does your job involve?

Designing and coordinating interior elements for clients from spatial design and layouts to materials and soft furnishings like carpets and accessories.

It’s a constant balance between creativity, technical constraints and operational reality. Deadlines must be strictly met, because missing them can be costly.

What elements of your work are very specific to aviation design-compared with residential spaces? 

Aviation design is strictly defined by certification requirements, weight limitations, and fire and safety regulations. Each element must be durable and perform at altitude, while still conveying comfort and elegance.

Although completion centres handle certification, my role as a designer is to facilitate that process.

What kind of projects have you worked on?

I’ve worked on VIP and VVIP jet interiors for heads of state, as well as bespoke private and corporate aircraft. My experience ranges from smaller jets such as Cessna and Bombardier to large-cabin and wide-body airliners.

I collaborate with international completion centres as well as specialist craftsmen. These projects range from full cabin concepts to highly detailed interior elements, and sometimes more isolated features such as paint schemes.

In terms of materials, techniques and size, what types of rug and carpeting have you been specifying? I mainly work with natural fibres, often combining wool and silk-for example, 70% wool and 30% silk-to achieve both durability and a refined finish. Most of the carpets I specify are hand-tufted, as VIP clients expect a high level of craftsmanship and quality.

In terms of size and application, carpets are typically wall-to-wall, with a pile height between 8 and 12 mm, predominantly in cut pile. However, I also work with combinations of cut and loop pile, adjusting densities depending on the zones within the cabin.

For higher traffic or more functional areas, tighter and denser loops-almost like a fine stitch-are often used to enhance durability while maintaining a cohesive design language.

In retrofit programmes, where timing is critical and aircraft are grounded, I also combine machine-made quality bases with hand-tufted finishes on top-allowing for both efficiency and a refined, tactile result.

What kinds of rug design have you specified?

It depends on the overall concept and the role the carpet plays within the cabin. In some cases, I work with subtle, tone-on-tone designs that allow the carpet to recede and create a calm, cohesive atmosphere. In others, I introduce bolder patterns that enrich the space and bring a stronger visual identity.

Scale is also key. In larger cabins, I often explore carving techniques to add depth and relief, enhancing the perception of the surface without overwhelming the space. In smaller or more defined areas, I sometimes create the illusion of a rug layered over a carpet-using medallions or framed zones to structure spaces such as conference tables, club seating or lounge areas.

Why are natural materials so important for your clients and what testing is needed to comply with aviation safety requirements?

Natural materials offer the best overall performance, both technically and sensorially. Wool, in particular, provides excellent thermal and acoustic insulation, as well as a naturally soft and comfortable surface. In private aviation, many clients enjoy removing their shoes during a flight.

Walking barefoot on a high-quality carpet brings a sense of warmth and comfort that enhances the onboard atmosphere.

To comply with aviation safety requirements, carpets must undergo strict fire testing. The entire carpet construction-fibres, density and backing-must be tested and certified as a system. This is typically evaluated through

As a designer, I am not directly responsible for certification, but I need a clear understanding of how materials behave to make informed choices from the early stages of the project.

You have also worked on projects with The Rug Company; how did you find a passion for rugs?

My passion for rugs started long before I worked with The Rug Company. When designing interiors, everything begins with a floor plan. Even in its minimal black-and-white form, I bring it to life by adding subtle colour before committing to specific materials or a defined mood board.

This sensitivity deepened during nearly ten years working in the Middle East, where rugs held profound cultural significance. My manager there valued the richness of colour and craftsmanship deeply. For him, the rug was a key surface, defining large portions of both the spaces and the furniture.

To me, the carpet is what we don’t look at, yet everything rests upon it.

 
You have just debuted a new collection of carpets; what inspired this?

The collection began with a simple question: how does life leave its trace in material over time?

Each design explores a different stage in this transformation, from invisible systems and natural growth to human structures and future imprints.

The idea to create our own selection also came from working within the framework of the Kalogridis Quick Ship program, using a curated range of in-stock colours. This framework led to a dialogue between machine-made precision and hand-tufted intervention, where technical limitation became a driver for clarity, material expression and design.

How has private aviation changed over the years? 

It’s no longer about flashy displays of wealth -it’s about service, the connection with the client, and a deep understanding of their needs.

 Clients now seek comfort, coherence and a thoughtfully crafted atmosphere. Yet, despite this shift, private aviation still feels like a time machine.

It’s a protective way to travel, where you set your own course, move in close intimacy, and have every detail tailored to transport you exactly as you need.

And, well, on top of that, I see it as a tiny house in the sky-but that’s another topic entirely, and I could debate that for hours!

You can also read this article in COVER 83 – available digitally now on Exact Editions.

Words by Lucy Upward