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    Esrawe + Cadena house Mexico City fragrance boutique within radial pavilion

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    This wooden pavilion set among lush gardens forms a retail space in Mexico City for fragrance brand Xinú, designed by its founders Esrawe + Cadena.

    The Xinú Marsella space occupies a former car mechanic’s workshop in the city’s Juarez neighborhood that has been transformed into an oasis of greenery.
    Esrawe + Cadena built the Xinú boutique within an industrial courtyard transformed into a verdant gardenIt was built to provide a multi-sensory experience for customers of perfume and home scent brand Xinú, which designers Héctor Esrawe and Ignacio Cadena founded in 2016.
    Both had a hand in creating the retail space, which is intended to reinvigorate the leftover industrial space and provide an enjoyable spot to visit.
    The single-storey pavilion is built almost entirely from laminated tornillo wood”The design approach started with the idea of gifting a garden to the neighbourhood, ingeniously giving life to a vacant space by harmoniously blending a holistic experience that integrates the seductive power of nature, with design and architecture,” said the design team.

    Visitors approach the space via an unassuming metal gateway on the street, passing through a tunnel with many potted plants on either side before emerging into the courtyard.
    Its radial construction emanates from a central columnA flagstone path guides this journey to and around a circular single-storey pavilion built almost entirely from laminated tornillo wood.
    Its radial construction revolves around a large central pillar, from which structural beams emanate to support tongue-and-groove ceiling panels.
    Vertical louvres around the perimeter support shelves and vitrines displaying various itemsThe pavilion sits on a steel frame atop a system of red grandis wood beams, while a pine lattice above the ceiling supports a plywood board roof.
    Around the perimeter are a series of vertical louvres that provide anchors for shelves and vitrines displaying a variety of items.
    Products on view include Xinú’s fragrances, candles and other olfactory-related piecesGlass panels fill most of the gaps between the louvres, except the two that are left for the wooden doors.
    At night, a ring of track lighting illuminates the displays that range from Xinú perfumes and candles, to olfactory-stimulating natural items, small plants and botanical drawings.
    The boutique is designed to offer Xinú customers a “a powerful authentic brand narrative””This thoughtful arrangement allows the periphery to fully embrace the botanical realm, correlating scents, candles, incense and home products with the vivid tapestry of the landscape,” the team said.
    “Supported by a powerful authentic brand narrative, the pavilion unfolds as a contemplative journey, a multi-sensory approach inviting guests to explore a universe crafted by simplicity and the fragrant symphony of nature as well as Xinú’s unique products and scents.”

    Mexican design and architecture undergoing a “renaissance” says Héctor Esrawe

    Xinú launched during Design Week Mexico in 2016, when the brand’s stacked-hemisphere reusable bottles – also designed by Esrawe Studio and Cadena & Asociados – were unveiled.
    Esrawe is one of Mexico’s most prolific contemporary designers, and in a recent interview with Dezeen, said that Mexican design and architecture is undergoing a “renaissance”.
    The courtyard is accessed from the street via a metal gate and reached by following a flagstone pathHis studio’s recent projects include the Albor Hotel in San Miguel de Allende where planes of green tile are suspended from the lobby ceiling and an apartment in Mexico City anchored by a cruciform cabinet.
    Cadena frequently collaborates on projects with Esrawe, offering art direction, concept design and brand identity.
    Track lighting inside the pavilion and uplights in the plants create an atmospheric setting at nightOther projects the two studios have completed together include Grupo Arca’s showroom and cultural centre in Guadalajara and the Tierra Garat cafe in Polanco, Mexico City.
    The photography is by Alejandro Ramírez.
    Project credits:
    Concept and experience: Esrawe + CadenaArchitecture, interior design, furniture: Esrawe StudioDisplay and artwork design: Cadena ConceptsDesign team: Heisei Carmona, Nuria Martin, Laura Vela, Ángel Durán, Raúl Araiza, Rodrigo Romero, Pablo ÁvilaVisualisations: Yair UgarteScale models: Alejandro Uribe, David DíazWood: MicmacStructure: Sergio LópezInstallations: JLC RemodelacionesLandscaping: Arturo FloresLighting: Lighteam

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      Gary Card redesigns London’s LN-CC store with orange tunnel and LED-lit club

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      Designer Gary Card has given London’s LN-CC boutique a redesign that includes a sci-fi-looking wooden tunnel and a room “shaped like the inside of a foot”.

      Card, who designed the original interior of the east London store in 2011, said the challenge for him was using the knowledge he has accumulated since then to create something new.
      The LN-CC store in east London has a red facade”The question for myself this time was – can I use everything I’ve learned over the last decade to reimagine one of my most recognized projects,” he told Dezeen.
      “Each room has a very different concept,” he added. “It’s become part of the tradition now to change the temperature and colour palette with each room and encourage a journey of identity and discovery.”
      An octagonal wooden tunnel welcomes visitorsThe store is the only physical shop for LN-CC, which is mainly an online business, and is spread across the ground and lower-ground floor of a former tie factory.

      Visitors enter via an orange wooden tunnel with an octagonal shape reminiscent of the architecture in director Stanley Kubrick’s film 2001: A Space Odyssey.
      Each room in the store has different colours and materialsIt is the third tunnel that Card has designed for the store, following its original orange tunnel and a later white version.
      “The tunnel is LN-CC’s icon,” Card explained. “It’s been with us for over a decade now, so it had to be a significant feature.”
      “We decided early on to bring it to street level and make the entrance something that had never been seen before as part of the store space,” he added.
      “It’s a brand-new design and construction. We’ve brought back the orange from the first tunnel; the white is a nod to the second version from 2014.”
      A cobalt-blue room sits on the lower-ground floorEach of the six rooms in the store has a different feel and different colours, which Card chose together with LN-CC’s buying and creative director Reece Crisp.
      “The colours we settled on really amplify what we’re showcasing, the brand’s unique edit,” the designer said.
      The store is LN-CC’s only physical spaceAmong them is the Callisto room, which has a cave-like feel and a design that was influenced by the building’s existing structures.
      “In the Callisto room, there was a circular part of a helter-skelter that used to be in the building – this used to be a tie factory and it was in the corner,” Crisp told Dezeen. “When we stripped the space back, we saw this sort of circle and that fed into how we wanted that space to be.”
      In the Atrium, Card used tile adhesive to create the structures and patterns on the room’s wide lime-green pillars, which provide shelving for the store’s accessories.
      The Atrium room has green pillars decorated with tile adhesiveFor LN-CC’s shoe room, known as the Midtarsal, Card drew on the anatomy of the human body to create an undulating, flesh-coloured interior.
      “The shoe space, the Midtarsal room, that’s engineering to an incredible degree,” Crisp said. “We love the shape – like the inside of the foot – and how that warps the room.”

      Mooradian Studio sprays London boutique interior with recycled newspaper pulp

      Throughout LN-CC, Card used a variety of different materials to bring the rooms to life.
      “The space is a juxtaposition of lots of different materials,” he said. “So MDF, perspex, wood and concrete – I sought to take small cues from the original while innovating with a refreshed lens exploring the interplay between texture, colour and materials within the newly imagined rooms.”
      The Midtarsal room has undulating shapes in a beige colourThe last room of the store is a club space, which features LED walls that can be used to turn the room into different colours or display messages.
      “The club has always been a huge part of LN-CC’s identity, ” Card said. “It was never about selling clothes – the brand was an online business after all – it was about delivering experiences. So we wanted to do something really special with the new club.”
      The LN-CC club space is lit by an LED wall”It was a bit dark and gritty before, which was cool, but we knew we needed to raise the stakes for the latest store design without it losing its edge,” Card added.
      “My right-hand man, Richard Wilkins, was the tech wizard for the space who created the lighting and amazing LED wall. The lighting totally transforms the space.”
      Other recent London store interiors include a boutique sprayed with recycled newspaper pulp and a colourful Marylebone store with handpainted murals.

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      Mooradian Studio sprays London boutique interior with recycled newspaper pulp

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      Architecture office Mooradian Studio used spray-on paper pulp to create a bumpy texture across the walls and ceilings of north London menswear store Natalino.

      Taking over a former art gallery in Fitzrovia, Natalino’s first physical store was designed by architect Aram Mooradian in collaboration with design studio Mitre & Mondays to reflect the properties of the brand’s garments.
      Natalino has opened its first physical store”Nathan’s clothes use a lot of natural textures and you can often see how they’re constructed, so we wanted to capture those qualities in the interior,” Mooradian told Dezeen.
      Mooradian, who had recently travelled to Italy with a group of his students from the Architectural Association, was influenced by the contrast of rough and smooth stone surfaces at Carlo Scarpa’s famous Olivetti showroom in Venice.
      The store’s interior was designed by Mooradian StudioAfter initially looking at using a sprayed plaster finish to achieve the desired effect, he came across a spray-on acoustic material from Dutch firm Acosorb that is made from recycled newspaper.

      The material is more commonly used for sound absorption in music studios and restaurants as it helps to reduce reverberation and improves acoustics.
      Spray-on paper pulp covers the walls and ceilingsMooradian used the paper pulp to cover the store’s walls and ceilings alongside utilities such as pipes and ducting. This lends the space a feeling of cohesion in addition to providing the desired tactility.
      “I think retail spaces are often about creating a sensory experience,” the architect said. “Spraying the entire store meant that we could create this atmosphere that wraps around and immerses you.”
      The textured finish is created by blowing the compressed flaked-paper material onto the surfaces together with a non-toxic binding agent.

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      When the interior eventually needs to be refurbished, the material can be easily removed by soaking it with water so it can once again be recycled.
      The use of recyclable materials also extends to the shop fittings, which were developed in collaboration with Mitre & Mondays and custom made in their Islington workshop from standard aluminium strips.
      “We used a range of techniques including bending, folding, clamping and notching to create various metal display structures that can be adapted to fit differently-sized garments,” said the studio’s co-founder Finn Thomson.
      Custom-made aluminium rails are used to display clothingThe components are attached using simple mechanical bolts, allowing them to be easily taken apart and reconfigured or recycled at the end of their lifespan.
      The display structures incorporate hanging rails and table surfaces, while angled aluminium shelves recessed into the wall are used to display shirts, knitwear and jeans.
      A fitting area in one corner of the space features a curtain made from UK-sourced waxed cotton that is suspended from a curved track.
      The aluminium was bent, folded and clamped into shapeThe graphic identity for Natalino was created by design agency Polytechnic, which also owns Bodney Road Studios in east London where Mooradian has his office.
      Aram Mooradian established his studio in 2018 after completing his studies at the Architectural Association. The studio focuses on reusing materials as part of a “gentle building philosophy” that also engages with contemporary craft practices.
      Other reversible shop interiors that have recently been featured on Dezeen include On-Off in Milan, which features a flexible gridded shelving system, and London’s Present & Correct store with its demountable wooden joinery.
      The photography is by Thomas Adank.

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      Cúpla decorates Rixo Marylebone store with hand-painted murals

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      Interior design studio Cúpla has completed a boutique for fashion brand Rixo in central London that features hand-painted illustrations and colourful zellige tiles.

      The clothing store on Marylebone High Street was revamped by Cúpla, whose creative director Gemma McCloskey is the twin sister of Rixo co-founder Orlagh McCloskey.
      The interior designer had previously designed the brand’s flagship store on the King’s Road and wanted the refurbished Marylebone location to have a similar feel.
      Rixo’s Marylebone store is covered in hand-painted murals”We wanted the store to embody everything we had previously created for Rixo’s flagship store but within its own right,” Gemma McCloskey told Dezeen.
      “A sense of escapism paired with a welcoming warmth within a boutique setting were the key emotions we wanted the customer to feel.”

      As the brand sells hand-painted prints, the designer wanted the store’s interior to feature illustrations to reflect the style of the clothes.
      It features modified vintage furniture”Understanding Rixo’s roots and the fact their USP is hand-painted prints, it felt tangible to represent the brand’s values and beginnings with the illustrations,” Gemma McCloskey said.
      “Given the space is quite small, we treated it almost like a living room space within a home and felt we could make it all-encompassing and personal.”
      Artist Sam Wood created colourful illustrations for the storeArtist Sam Wood hand-painted murals and illustrations throughout the store, which has a bright and playful colour palette and also features traditional glazed Moroccan zellige tiles.
      “We wanted the colour palette to feel really fresh and bright,” the designer explained.
      “Although there is an abundance of colours used, every line of the mural or the ‘random’ coloured zellige tile layout was methodically composed to ensure a right balance between the colours was struck.”

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      The studio added decorative arches and classical mouldings to the store in a nod to the architecture and heritage of its Marylebone neighbourhood.
      The store also features bespoke fitting room curtains with pickle-green and flora-pink stripes by fabric brand Colours of Arley.
      Moroccan zellige tiles add to the playful interiorCúpla used vintage furniture pieces throughout the store, which sells Rixo’s full collection including ready-to-wear and bridalwear.
      “We actually modified existing pieces of vintage furniture, which had been previously sourced by [Rixo founders] Orlagh and Henrietta years ago in the early days of Rixo,” Gemma McCloskey said.
      “They were the perfect fit for the space but didn’t have the functionality we required, so we decided to alter these instead or replace them.”
      The store is located on Marylebone High Street”It was much more sustainable and because the pieces were from the early years of Rixo, they had sentimental value so we didn’t want to replace them,” she added.
      Other recent London stores featured on Dezeen include a Camper store with a giant foot sculpture and a stationery store with a demountable interior.
      The photography is courtesy of Rixo.

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      Vincent Van Duysen transforms Milanese palazzo into “sensual” Ferragamo store

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      Belgian architect Vincent Van Duysen has completed a boutique in Milan for Italian fashion house Ferragamo, featuring red marble panels and an alcove covered in ceramic petals that offset the original Renaissance-style interiors.

      The store is located within Palazzo Carcassola Grandi, which was originally built in the 15th century and now occupies a prime spot on Milan’s Montenapoleone fashion street.
      Vincent Van Duysen has designed Ferragamo’s Montenapoleone boutiqueThe palazzo was remodelled in the 19th century when it was home to Emilio Morosini – a member of the Italian unification and independence movement known as the Risorgimento.
      Van Duysen chose to retain much of the building’s historic character while introducing some surprising contemporary details.
      Footwear is displayed in a large salon”With this project, we tried to express a timeless Italianicity that is steeped in Ferragamo’s DNA,” said Van Duysen. “A sensual theatrical setting, where the scenic screen is luxuriously elevated and used as a backdrop and space dividing element at the same time.”

      “The skilful juxtaposition of modern, essential elements and materials with existing structures such as the columns and the cross vaults creates a pleasing contrast that enhances every feature.”
      An alcove is decorated in ceramics by Andrea MancusoAt the heart of the 280-square-metre interior is a large salon for displaying Ferragamo’s footwear. A minimal material palette comprising Venetian stucco walls, stone flooring and off-white painted ceilings allows the original details to stand out.
      Large mirrors set in simple bronze frames enhance the sense of space, while slabs of mottled Napoleon Red marble provide a punchy contrast that nods to the favourite colour of the company’s founder, Salvatore Ferragamo.
      The rest of the spaces are organised and designed to evoke the rooms of a grand villa, each with a unique character tailored to reflect the collections it holds.

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      “The design originates far in the past, in the person of Salvatore Ferragamo himself, who liked to receive his customers as if in his home living room,” explained Marco Gobbetti, Ferragamo’s CEO and managing director.
      “This was precisely how he thought of his shop, as a place to come together and converse. This starting point has brought us to this contemporary expression of the intimacy of home and Italian-ness.”
      As customers move through the sequence of rooms, they come across areas dedicated to footwear, bags, accessories and clothing, before finally descending a short stone staircase to reach a space displaying silk items.
      Marble detailing features throughout the storeFerragamo worked with contemporary designers and gallerists to curate a collection of unusual objects and furniture intended to embody the store’s “contemporary Renaissance spirit”.
      An alcove visible through one of the windows is covered in sea-blue ceramics crafted by Andrea Mancuso of Milanese studio Analogia Project, using the same technique he developed for the Aquario collection for Nilufar Gallery in 2022.
      Mancuso also used the circular ceramic petals, intended to evoke fantastical aquatic flora, to form a display table placed at the boutique’s entrance.
      Side tables by Andrea Anastasio stand in the vestibule next to the changing roomsSide tables found in spaces including a lounge-like vestibule next to the changing rooms are from Andrea Anastasio’s Corallium collection for Giustini/Stagetti Gallery and consist of coloured stone pieces stitched together using leather string.
      JoAnn Tan’s Stockholm-based studio created the display tables seen in the windows, which are covered with leather fringe reclaimed from Ferragamo’s production sites.
      Van Duysen is known for his multidisciplinary work for the hospitality, fashion and furniture sectors, and has been the creative director of Italian design brand Molteni&C since 2016.
      JoAnn Tan’s fringed display tables can be seen from the outsideAs part of his role, the architect has revamped the firm’s corporate showroom in Giussano, Italy, and designed a “palazzo-like” showroom in New York.
      Salvatore Ferragamo established his first business focusing on ladies’ footwear in 1927. In addition to footwear, the firm now produces luxury goods such as bags, accessories and ready-to-wear clothing, all of which are displayed at the Via Montenapoleone showroom.
      In 2022, British graphic designer Peter Saville updated Ferragamo’s brand identity, replacing its handwritten logo with a custom serif typeface that references stone inscriptions.

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      22RE invokes “stillness” inside green Miami golfing boutique

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      Los Angeles studio 22RE has used pale-green stucco informed by Miami’s colours and golf courses for the interiors of a golf clothing boutique in the city.

      A few blocks from the ocean, the Malbon store in Coconut Grove serves a large customer base for the brand in South Florida – a popular golfing destination thanks to year-round warm weather.
      The Malbon Miami store revolves around a central area, from which handmade tiles emanate in a radial pattern across the floorThe verdant neighbourhood and Miami’s distinct architecture provided 22RE with a starting point to build upon, aiming to create a tranquil space amongst such vibrancy.
      “We intended to create an oasis within the city, one that invoked stillness – a feeling that Malbon customers are accustomed to while they’re out on the green,” 22RE founding principal Dean Levin told Dezeen.
      Pale green stucco covers the walls, columns and ceiling beamsThe store’s most striking feature is the pale green stucco that covers the majority of vertical surfaces and ceiling beams that form square archways overhead.

      “The shade of green used throughout the space was inspired by the studio’s first visit to the location, and inspired by the vibrant hues associated with Miami as a city,” said Levin.
      Merchandise is kept to the perimeter of the store, displayed on stainless steel rails and shelvesThe placid hue is contrasted with stainless steel elements including the sales counter and a doorway to the stock room.
      From the centre of the space, mid-grey handmade Mexican tiles are laid across the floor in a radial pattern, emanating from a circular plaque that displays the brand’s monogram.
      Filleted stucco surfaces contrast the aluminium open-cell grid ceilingA ring-shaped installation above, suspended from an aluminium open-cell grid ceiling, also bears the Malbon logo scribed repeatedly in white neon.
      Four columns and a pair of stainless steel benches define this central area, which is intentionally devoid of merchandise to create a moment for pause and conversation between customers.

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      Clothing and accessories are kept to the perimeter, displayed in illuminated niches on stainless steel rails or shelves.
      “In retail stores, there is a predominantly unchanging relationship between salesperson and customer,” Levin said. “We wanted to consider and account for the things we could – foot traffic, merchandising and general flow.”
      A pair of stainless steel benches offer a place for pause and conversation in the middle of the boutiqueBehind the street-facing windows, white stones cover the floors and plants so that the store “feels like a natural extension of the vegetation and foliage” in the surrounding area, said Levin.
      “Through juxtaposing a variety of different materials both organic and industrial, the Malbon Miami storefront is an accurate reflection of the values we celebrate and preserve as an architecture and design firm,” he added.
      The storefront contains greenery to create a natural extension of the verdant surroundings of Coconut GroveMiami has grown significantly as a retail destination over the past decade, with a large concentration of new luxury stores in the city’s Design District.
      Brands including Louis Vuitton, Off-White and Christian Louboutin all have distinctly designed outposts in the neighbourhood.
      The photography is by Erik Stackpole.

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      Standard Architecture refreshes interiors of pink Paul Smith store in LA

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      British fashion label Paul Smith’s iconic pink store in Los Angeles has received an interior makeover from Standard Architecture.

      Standard Architecture collaborated with the Paul Smith design team to reimagine the 4,740-square-foot (440 square metres) store on Melrose Avenue, West Hollywood.
      Standard Architecture and the Paul Smith team reorganised the LA store to better define the brand’s different collectionsThe studios also created a new VIP entrance patio for the building, which is notorious for its bright pink exterior that has become a pilgrimage spot for amateur photoshoots.
      “The primary goal was to enhance the overall customer experience within the store, which was achieved by creating a more cohesive and immersive shopping environment across the different brand departments,” said Standard Architecture.
      Stone-clad partitions help to define areas, but don’t reach the exposed timber ceilingThe entrance to the store – the only opening in the giant pink wall that faces the parking lot – leads shoppers through a glossy red metal vestibule into the main retail space.

      Clearly defined yet interconnected areas for the menswear, womenswear and homeware collections help with navigation around the store.
      Long brass rails are used to present tailoringPartitions clad in dappled beige stone frame these zones, but don’t reach the exposed timber ceiling, to retain the sense of openness.
      In places, the stone walls are inlaid with mosaic-style artworks depicting abstract flora, which add splashes of colour to the warm-toned surfaces.
      Paul Smith’s collaborations with Gufram and Anglepoise are among the pieces on showBlack track lighting is suspended from the rafters, spotlighting the various clothing displays and lounge areas furnished with midcentury-style sofas and armchairs that are dotted around the store.
      Long brass rails that appear to be suspended in midair are used to display suit jackets, which are carefully arranged by colour.
      Shoes are presented on stepped white ledges that resemble bleacher seatingIn an area dedicated to accessories, the shoes and bags are lined up on stepped white ledges that resemble bleacher seating.
      Walnut is used for accents including shelving, door frames, and podiums, as well as for a large open storage system with compartments for presenting individual products and a row of sculptures by Alexander Calder.

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      Founded by fashion designer Paul Smith in 1970, his eponymous brand is synonymous with the brightly coloured stripes applied to many of its apparel products and other collaborations.
      Many of these appear throughout the store, including a colour-tinted Anglepoise desk lamp and a striped version of Gufram’s cactus-shaped coat stand.
      Entry to the store is via a vestibule wrapped in glossy red metal”Overall, the design reflects a deep understanding of the brand’s identity, which places a strong emphasis on the use of colour and attention to detail,” Standard Architecture said.
      Paul Smith retail spaces around the world are equally playful. On London’s Albemarle Street, its boutique has a patterned cast-iron facade by 6a Architects, while the shop in Seoul is encased in a curving concrete shell by System Lab.
      The store on Melrose Avenue is an icon in Los Angeles thanks to its bright pink facadesStandard Architecture was founded by Silvia Kuhle and Jeffrey Allsbrook, who discussed their work with Dezeen during our Virtual Design Festival in 2020.
      Past projects by the firm include a Hollywood Hills residence with a cantilevered swimming pool and a minimal showroom for fashion brand Helmut Lang – which was located just a few blocks from the Paul Smith store before it shuttered.
      The photography is by Genevieve Garruppo.

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      Cafe Kitsuné Los Angeles features Parisian-style interiors with “Japanese twist”

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      Paris-based lifestyle brand Kitsuné has opened a cafe next to its boutique in Silver Lake, Los Angeles, both with minimalist interiors featuring white oak and stainless steel.

      The interiors of the new Cafe Kitsuné and the renovated Maison Kitsuné store were designed by co-founder Masaya Kuroki to reflect the brand’s French-Japanese culture as well as the West Coast setting.
      The Cafe Kitsuné interior includes a mural by Jeffrey Sinich that imagines the space as an old-school marketFacing Sunset Boulevard on the east side of the city, this is the brand’s fourth cafe in North America – following locations in Manhattan, Brooklyn and Vancouver – and its first in LA.
      “A sprawling city of diverse findings, from cutting-edge restaurants to pockets of art and architecture second to none, LA has lent design inspiration and a backdrop to several campaigns for the fashion house,” said the Kitsuné team.
      White oak tables and surfaces are set against stainless steel counters and panelling for a minimalist look”Now, it’s the perfect setting for Café Kitsuné, a physical extension of the brand’s Franco-Japanese DNA, and reinvention of the classic Parisian cafe and wine bar experience with a Japanese twist,” they added.

      The building’s red-tile exterior and poured concrete flooring were preserved, and hand-painted signage by Californian artist Jeffrey Sincich was added over the large street-facing windows.
      Burnt orange dining chairs and upholstered benches highlight the colours of the muralInside the 700-square-foot (65-square-metre) cafe, white oak tables and brushed stainless-steel counters feature alongside burnt orange dining chairs and upholstered benches.
      Another Sincich mural covers the full length of a wall, offering “a whimsical take on Café Kitsuné’s standard appearance” and presenting the space as an “old-school market”.

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      A speaker system by Japanese audio company Rotel was installed in the cafe “to provide a top-notch sound experience for customers”, according to Kitsuné.
      Next door in the boutique, a similar material palette is used for elements including a built-in storage and display unit across the back wall.
      The existing Maison Kitsuné boutique next door has also received a refreshWhite oak forms the framing, shelves and doors that lead to the stock and fitting rooms, while ribbed stainless-steel sheets provide a backdrop for the items on show.
      More oak was used for the minimalist service counter and panelling behind, and a bright blue table sits in the centre to add a pop of colour.
      White oak and stainless steel are repeated in this space to create a visual connection with the cafeKitsuné was founded by 2002 by Kuroki and Gildas Loaëc and encompasses the fashion brand, Maison Kitsuné; a music label, Kitsuné Musique; and its line of cafes, bars and restaurants.
      Back in 2017, French designer Mathieu Lehanneur designed the Kitsuné store interior in New York’s Soho, adding snaking metal rails for displaying garments.
      The photography is by David Kitz.

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      Aro Archive store features pastel-coloured rooms and industrial control station

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      Fashion retailer Aro Archive’s pastel-hued east London store was designed by founder Ariana Waiata Sheehan to evoke “a sense of otherworldliness”.

      The store, located in Shoreditch, replaces the brand’s previous, more industrial store on nearby Broadway Market and was intended to have a frivolous feel.
      The Aro Archive store has pastel-coloured floors in pink and blueThe interior has “a sense of otherworldliness, escapism and fun,” Waiata Sheehan explains, comparing it to “a mixture between a mushroom trip and going to visit someone’s rich aunty who runs a gallery”.
      “We’ve always had very neutral industrial spaces,” she told Dezeen. |But you can get an industrial Zara these days, so time to switch it up and go full personality, which has been scary but so worth it.”
      It is located inside an old Victorian warehouseLocated inside a five-storey former Victorian warehouse, Aro Archive, which sells pre-owned clothing by avant-garde designers, was organised so that each floor has a different colour.

      Monochrome pastel pink, blue and white hues decorate the different levels, which also feature a wide range of reclaimed and recycled materials, furniture and artworks.
      Founder Ariana Waiata Sheehan created the interior design”The pink floor is supposed to feel very warm, womb-like and enclosed,” Waiata Sheehan said. “The blue floor is more light and otherworldly. And the two white floors are very ethereal and calm.”
      White duvet covers by fashion house Maison Martin Margiela were used to create curtains for the changing rooms, while interior pillars are made from reclaimed 1990s metal lamp posts that the designer sourced from a scrapyard in Preston.
      Duvet covers by Maison Martin Margiela frame the changing rooms”The building and surrounding area feel very London, so we did want to bring in a sense of that for example with the lamp posts, metal works and details, bright neon lights and so forth,” Waiata Sheehan said.
      She sourced a number of unusual furnishings for the Aro Archive store, including an industrial control station from a paper-manufacturing plant that is now used as a till.

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      “The industrial paper control station I’ve been watching on eBay for nearly 4 years, waiting for a time I had the space to buy it,” Waiata Sheehan explained. “I wanted something different to the normal till, they’re all so boring and square.”
      The store also has another large metal till and metal drawers that originally came from a 1980s Mary Quant store and were rescued from a squat in Hackney Wick.
      A large metal till was originally from a Mary Quant storeWaiata Sheehan also sourced several smaller pieces for the boutique, where customers can purchase everything down to the artwork, furniture and accessories.
      “I do all the buying so everything is here because I love it in some way,” she explained. “But in terms of favourite pieces in store right now?”
      “For fashion, it’s the Rick Owens orange shearling gimp mask gilet, for objects the Shirin Guild ceramic incense holders and for furniture the wobbly glass table with magazine racks.”
      Waiata Sheehan bought an old industrial control station from eBayWaiata Sheehan hopes the Aro Archive boutique will feel like a home away from home and help to create a community feel in the area.
      “I think Shoreditch is lacking a sense of community and I wanted to work that into the space,” she said. “The feeling of a chaotic family home and a feeling of togetherness.”
      Lampposts from a scrapyard form pillars inside the storeOther London stores with notable interior design recently covered on Dezeen include Swedish fashion brand Toteme’s newly-opened Mayfair store and a Coach pop-up store at Selfridges that had fixtures made from recyclable materials.
      The photography is by John Munro.

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