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      WGNB creates minimal monochrome SVRN store in Chicago

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      A variety of monolithic furniture pieces direct the flow of movement around this fashion boutique in Chicago, designed by South Korean studio WGNB.

      The space for lifestyle brand SVRN is intended to highlight the products for sale as artworks and ideas, rather than simply as garments.
      Benches balanced on irregularly shaped rocks also act as product displays in the store”Spatial design of the SVRN store began with our interpretation of the SVRN’s brand identity and narrative through the eastern perspective,” said WGNB.
      “While the western perspective looks at the object itself, the eastern perspective rather focuses on the surrounding relationship of the object.”
      Thin black railings are used for hanging garmentsThe 4,200-square-foot (390-square-metre) store on North Aberdeen Street, in the Fulton Market area, is split into two sections: the main sales floor and a back room, which are connected by a narrow corridor.

      A muted, monochrome selection of materials creates a serene atmosphere in both of the spaces, while the architectural elements dictate purposeful paths that connect them.
      Various architectural and furniture elements form pathways for shoppers to meanderBlack railings transverse the walls, puncturing curved and flat vertical partitions made from materials including concrete, steel and black-stained thermowood.
      Curved benches that act as both accessory displays and seating are balanced on large irregularly shaped stones.
      The walls and ceiling in the back room are lined with stainless steelTogether, all of these elements suggest multiple meandering routes for customers to trace through the store.
      In the back room, the curvature of the benches corresponds with a circular opening in the brushed stainless steel ceiling, while a round patch of carpet sits offset on the floor.
      A section dedicated to footwear features multiple shelving unitsHot-rolled steel continues across three walls, creating a sci-fi feel in certain areas of the room.
      Micro-cement plaster paints are used to contrast the metal, adding a rougher texture against the smooth surfaces.
      A monochrome colour scheme is applied throughout”Overall, usage of the materials are manifestations of the SVRN’s brand identity and narratives,” said WGNB.
      The fourth wall in the rear space is reserved for displaying shoes, which sit on shelves of unequal heights that are silhouetted against backlighting.

      WGNB designs all-black flagship store for fashion brand Juun.J

      “The spatial layout of the store considers the current that customer’s circulation creates in the space with the objects and openness,” said the studio.
      “And, the visual tension is created by the constantly changing eyesight of the customers while navigating the store.”
      A variety of smooth and textured surfaces create subtle contrasts across the boutiqueMinimalist fashion boutiques can be found worldwide, with many brands opting for a simple and pared-back interior to allow the products to shine.
      Recently completed examples include Snøhetta’s Holzweiler store in Copenhagen and a Jonathan Simkhai store in New York’s SoHo by Aruliden.
      The store was designed by WGNB, the Dezeen Awards Emerging Interiors Studio in 2021WGNB, which won the Dezeen Award for Emerging Interior Designer of the Year 2021, has also created monochromatic interiors for fashion brand Juun.J’s flagship store and a golf supply shop – both in Seoul.
      The photography is by Yongjoon Choi.
      Project credits:
      Construction/general contractor: Helios Construction Services

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      Snøhetta combines clay and oak in minimalist Holzweiler store

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      Architecture practice Snøhetta stuck to natural materials for the fit-out of the Holzweiler boutique in Copenhagen, incorporating subtle references to the fashion brand’s Norwegian heritage.

      Snøhetta is a long-term collaborator of Holzweiler’s, having designed the company’s flagship store and showroom in Oslo, as well as a number of its pop-up shops, runway sets and its digital identity.
      Snøhetta has designed Holzweiler’s Copenhagen outpostFor Holzweiler’s first international outpost in Copenhagen, Snøhetta followed the concept of “tracing” – devising an interior scheme that shows traces of the brand’s Norwegian roots alongside the minimalist aesthetic found in its previous retail spaces.
      “Reminiscent of a memory or feeling that remains, the idea of ‘traces’ evokes an emotional sense of the brand’s beloved heritage as it travels to a new city,” the practice said.
      A clay sculpture by Ingeborg Riseng sits at the heart of the storeAt the centre of the 100-square-metre store is a tall, hollow sculpture by Norwegian artist Ingeborg Riseng, which shoppers can step into. Its undulating outer walls are fitted with display shelves and coated in a smooth layer of clay, while the inside has a rough, craggy surface.

      An oakwood display plinth winds its way around the periphery of the store, eventually connecting to a curved timber partition at the rear of the floor plan.
      Around the edge of the store is an oak display plinthBehind the wall lies a changing area with cubicles and curtains created by Danish textile design studio Tronhjem Rømer.
      The fabric is digitally printed with subtle yellow and pale blue stripes, designed to evoke the shifting shades of the Norwegian sky.

      Snøhetta to restore and renovate Lille’s 19th-century Natural History Museum

      To contrast the store’s largely natural material palette, Snøhetta added some industrial-style finishing touches like metal clothing rails and custom strip lighting, developed by Swedish brand Ateljé Lyktan.
      Both the floors and ceilings were preserved from the store’s previous fit-out.
      Garments hang from steel railsOther recent projects by Snøhetta include Bolder Star Lodges, a quartet of wooden cabins that overlook a fjord in Norway.
      Meanwhile in Denmark, the practice employed boat construction techniques to create a timber community centre in Esbjerg.
      The photography is by Magnus Nordstrand, courtesy of Snøhetta and Holzweiler.

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      Nagami 3D-prints recycled plastic to mimic melting glaciers in Spanish boutique

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      Spanish design studio Nagami has completed a shop interior for sustainable clothing brand Ecoalf near Madrid that is almost entirely 3D printed from recycled plastic.

      Walls, shelves and display tables inside the store in the Las Rozas Village designer outlet are made from 3.3 tonnes of repurposed plastic waste, sourced mainly from hospitals and used to create transluscent surfaces that resemble melting glaciers.
      Nagami has 3D-printed the interior of Ecoalf’s boutique near MadridAdditive manufacturing specialist Nagami created the plastic panels using a robotic arm equipped with a custom-built extruder that can print complex 3D forms, with the aim of uniting design and technology to raise awareness about the climate crisis.
      “We wanted to highlight the melting of the polar glaciers due to climate change,” Nagami co-founder Manuel Jiménez García told Dezeen. “So the walls are meant to represent a glacier that is cracking.”
      “The 3D-sculpted texture is a reference to the way the wind and snow erode the ice over time,” he added. “The idea was to recreate the sensation you might have when walking inside a glacier.”

      The interior was designed to resemeble a melting glacierThe Ecoalf store is the first fully 3D-printed interior completed by Nagami. And García believes it may be the first in the world to be fully 3D-printed using recycled plastic.
      The project was completed with a very short lead time of just three months from design to installation.
      Almost all of the surfaces are made from recycled plasticAccording to García, the undulating forms that cover almost all of the store’s internal surfaces pushed the robotic printing technology to its limit.
      “The machines needed to literally dance to create all of these different angles,” the designer explained. “Traditional 3D printing uses layers. But we can change the angle of the robot to make the kinds of curved and wavy forms you see in this project.”
      The walls are divided into panels and joined using connectors that form part of the printed structure. This meant that the tolerances needed to be very precise so that the components can slot together neatly.

      Nagami’s first collection features 3D-printed chairs by Zaha Hadid Architects

      On the floor, natural stone tiles feature veins reminiscent of cracking ice to enhance the feeling of walking on a glacier.
      All of the components used for the interior can be disassembled and reused or recycled for future projects. The plastic itself is almost infinitely recyclable, losing just one per cent of its structural performance with each new use, Nagami claims.
      The shop is located in the Las Rozas Village designer outletBoth companies share an interest in sustainable manufacturing, with Ecoalf creating clothing, footwear and accessories using recycled materials including plastic bottles, discarded fishing nets, used tyres and post-industrial wool and cotton.
      Similarly, Nagami works with recycled plastic to create furniture, sculptures, interiors and architectural elements as part of a closed-loop production process.
      The studio’s previous projects include several window displays for Dior, as well as a mobile toilet cubicle called The Throne and a collection of 3D-printed chairs by designers including Ross Lovegrove and Zaha Hadid Architects.
      Nagami used special robotic arms to 3D-print the panels. Photo by NagamiDuring the coronavirus pandemic, Nagami also made use of its quick-fire production process to 3D print face shields for medical staff.
      “We see 3D printing as one of the most sustainable forms of production,” García explained. “You don’t have to produce stock, it doesn’t create any fumes and it’s very versatile so you can create things on demand.”
      “In the future as we expand we want to have production sites around the world making things locally and reducing our carbon footprint even further.”
      All photography is by Alfonso-Quiroga unless otherwise stated.

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      RtA NYC store by Dan Brunn features broken crystal and red fitting rooms

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      Pieces of broken crystal fill a display case that runs the length of this Manhattan boutique, completed by Los Angeles-based architect Dan Brunn for streetwear brand Road to Awe.

      The store on Mercer Street in SoHo is both the third location for Road to Awe, also known as RtA, and the third designed by Dan Brunn Architecture.
      Road to Awe’s third store by Dan Brunn is divided by a central displayFollowing outposts in West Hollywood and Las Vegas, the new 2,152-square-foot (200-square-metre) space occupies the ground floor of a historic landmarked building.
      “Honoring the more industrial nature of its surroundings, RtA Soho takes on a streamlined and contemporary approach with a raw edge directly opposing the more playful and ostentatious style of the Vegas location and serene nature of its West Coast counterpart,” said Brunn’s studio.
      The row of vitrines is filled with pieces of broken Baccarat crystalThe open floor plan is divided along the centre by a line of mirrored chrome vitrines.

      Created in collaboration with crystal brand Baccarat, the display contains 2,000 pounds (907 kilograms) of broken crystal that would have otherwise been discarded.
      Clothing is hung from suspended steel beamsEach case has an angled top to create a faceted surface, while a red glow surrounds the base of the structure.
      The crystal pieces are also back-lit, “casting rays of light throughout the store like a reverse disco ball” according to the brand.
      At the rear, a fitting room area is entirely red and illuminated with neon stripsMenswear and womenswear are displayed either side of this central axis, hung from floating horizontal blackened steel beams that help to divide the space.
      Brunn retained the original wooden flooring, but painted it in a gradient that blends from white to black towards the rear of the store.

      Delicate glass shelves illuminate Las Vegas boutique by Dan Brunn Architecture

      At the back is an entirely red area that provides access to the fitting rooms.
      A velvet-covered seating module runs down the middle of this space, flanked by repeated arches that puncture the side walls and are outlined by neon lights.
      Areas of missing brick in the fitting rooms are lined with gold leafNeon strips also traverse horizontally across the ceiling, while an LED display on the back wall plays RtA’s merchandising videos and fashion shows.
      Inside the fitting rooms, “valleys” in the existing brick wall “were sporadically filled with gold leaf paint employing the Japanese kintsugi method of embracing the beauty in imperfection”, said the studio.
      The RtA NYC store is located in a historic building on Mercer StreetBrunn’s first store for RtA opened on Melrose Avenue in 2017, followed by his boutique at the Wynn resort in Las Vegas in 2019.
      The architect has also renovated a Frank Gehry-designed house for an illustrator and designed a long slender home spanning a brook for himself.
      The photography is by Brandon Shigeta.

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      ASA Studio Albanese references mid-century offices for Thom Browne store in San Francisco

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      American fashion label Thom Browne has opened its first retail location in San Francisco, designed by ASA Studio Albanese to feature dramatic marble against white slatted blinds.

      The flagship store is situated at 432 Jackson Street in the historic Yeon Building, which dates back to 1855, in the heart of the city’s luxury shopping district.
      Thom Browne’s San Francisco store pairs decorative marble walls with white slatted blindsIts interior is the latest collaboration between Thom Browne’s eponymous founder and architect Flavio Albanese of Italy-based ASA Studio Albanese, who has designed over a dozen stores for the brand since 2017.
      Like its counterparts around the world, the 1,250-square-foot (116-square-metre) space is outfitted to look like a Mad Men-era workplace.
      A selection of mid-century furniture pieces was curated for the spaceThis is achieved by pairing highly decorative marble surfaces with strips of white slatted blinds and tube lighting.

      “Behind Thom Browne’s signature slat blind-covered windows is a minimalist mid-century style office with rows of fluorescent tube lighting, polished with white Calcutta and Carrara marble floors, and banker grey Bardiglio and Carrara marble walls,” said the Thom Browne team.
      The store’s desaturated colour palette is reflective of the brand’s clothingAmong the furniture pieces curated to embellish the theme are a glass-topped desk placed in the centre of the room at one end and chairs that form a small seating area at the other.
      “Thom continues to outfit this space with mid-century furniture by American and French designers — including seating and lamps by Jacques Adnet, a desk by TH Robsjohn-Gibbings, office chairs by Knoll, benches by McCobb, coffee tables by Mathieu Mategot, and display etagere’s by Maison Jansen,” the team said.
      Accessories are displayed on minimalist shelving unitsThe largely desaturated colour palette – reflective of the brand’s clothing – is interrupted by brass accessories and details on the furniture, as well as a few camel-toned garments.
      A black band wraps around the rooms at floor level, separating the grey marble on the walls from the lighter toned stone underfoot.

      Thom Browne holds “teddy talk” for toy-inspired Autumn Winter 2022 collection

      Clothes are presented on metal rails mounted on wheels, while bags, shoes, eyewear and fragrances are displayed on minimalist freestanding shelves.
      The fitting rooms are hidden behind doors covered in the same material as the walls so that they blend in seamlessly when closed.
      The store is located in the historic Yeon Building on Jackson SquareThom Browne founded his label in 2001 with five suits in a small by-appointment shop in New York City’s West Village, and eventually expanded to include ready-to-wear and accessories lines for both men and women.
      Browne’s Autumn Winter 2022 collection was an ode to toys and featured sculptural tailoring, presented at New York Fashion Week in front of an audience of 500 teddy bears.
      The photography is courtesy of Thom Browne.

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      Reflecting pool centres XC273 fashion boutique in former Shanghai towel factory

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      Chinese studio Dongqi Design has turned a disused factory in Shanghai into a multi-brand fashion and lifestyle store, adding glossy marble and metal surfaces to offset its exposed concrete shell.

      Set across three floors, the XC273 retail space houses designer showrooms and pop-ups alongside a small cafe, as well as providing spaces for temporary exhibitions and events.
      Dongqi Design has turned a former factory into a fashion boutiqueFormerly a state-owned towel factory, the building had already been changed several times before the latest round of renovations.
      Dongqi Design strived to preserve and emphasise these different layers of history, which are contrasted against shiny new finishes to create a kind of “nostalgic futurism”.
      “All the differences of the space were kept as part of the building’s history so that people walking in could feel that the boundaries between the past and the present are blurred, as if they had walked into a timeless space,” the studio explained.

      The XC273 store houses a cafe alongside designer showrooms and pop-upsThe building is organised around three voids, which now form the basis of the store’s circulation routes.
      The largest of these voids consists of a double-height space at the core of the building, where Dongqi Design added a small reflecting pool surrounded by a collonade.
      Glossy surfaces are contrasted against the building’s raw concrete shellThe collonade’s raw concrete columns are left exposed where they face the pond, while their other three sides are wrapped with either marble, wood or metal.
      This approach is replicated across the store’s display fixtures to create a sense of spatial continuity. It can also be seen on the first floor, where new paving was added to enhance the existing geometric flooring.

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      A sound tunnel that provides visitors with an experimental music experience was placed near the cafe on the ground floor.
      The second floor is accessed via a metal staircase, which is suspended above the reflecting pool and winds its way up through a small hole in the ceiling.
      A reflecting pool was installed at the core of the building”The key element connecting all the spaces is the stairs,” the studio explained.
      “The stairs are designed in their purest metallic form, further enhanced by the details of the balustrade where the fence becomes a simple element sliding into the structural beam at the bottom while having a profile on the top to allow visitors to grab the handrail comfortably.”
      Concrete paving was added to complement the geometric flooring on the first floorOn the second floor, Dongqi Design selected a bright white finish to emphasise the old wooden structure of the building’s pitched roof. A series of square windows let light into the space and offer views out across the city and toward the sky.
      To balance out the otherwise all-white interior, the VIP room is finished in a darker palette. During spring and summer, these darker shades also contrast with the colour of the trees outside.
      Dongqi Design gave the second floor a bright white finishXC273 has been shortlisted in the large retail interior category of this year’s Dezeen Awards.
      Other projects in the running include a second-hand bookshop in Shanghai that uses supermarket-style crates to display its wares and a reusable sales showroom with fabric walls.
      The photography is by Raitt Liu.

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      Fabric arches divide Jonathan Simkhai store in SoHo by Aruliden

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      Design agency Aruliden has created a retail space for fashion brand Jonathan Simkhai in New York City, translating cut-out shapes from its clothing into architectural partitions and furniture.

      For New York-based womenswear brand Jonathan Simkhai, Aruliden designed a temporary installation within the space on Mercer Street in SoHo – a prime shopping area in Lower Manhattan.
      A series of metal structures wrapped in translucent fabric divide the Jonathan Simkhai storeThe geometric shapes and signature cut-outs of the brand’s clothing were translated into a variety of spatial interventions and furniture pieces, creating a store in which the brand can present new collections and host events.
      “Translating Simkhai’s identity into a vision for a spatial environment required a clear and strategic idea that was not just shoppable, but also memorable and visually iconic,” said Aruliden’s senior director of industrial design Erik Kreider.
      “We wanted visitors to be fully immersed in this world, but at the end of the day it was also important that we celebrated and showcased the products the right way.”

      The fabric partitions are installed to fit around existing architectural elementsTowards the front of the building, a double-height space is painted entirely white and further brightened by the glass facade.
      This long, narrow room is divided by a series of tall structures, comprising translucent fabric stretched over metal frames.
      Mannequins flank a staircase that leads to the store’s lower levelFitted around existing architectural elements, the temporary walls wrapped in white, peach and pink fabric are punctured with archways that curve asymmetrically at the top, forming a passage from one end of the store to the other.
      Shoppers are led through the archways and down a flight of stairs, flanked by mannequins positioned on larger steps along one side.
      Units of a flexible display system are shaped similarly to the arched openings in the partitionsOn the lower level, where the ceiling height is considerably lower, podiums for displaying products and decorative accessories are shaped similarly to the archway cut-outs.
      At various sizes and heights, these beige-toned units form a flexible display system that can be moved around when needed.

      AMO cocoons Jacquemus store in pillows to create “bedroom-like” interior

      “Clothing and products break the cadence of the fabric arches,” said Kreider.
      “Together with the graphic cutouts, this creates a natural flow to the back area where more products, seating and changing rooms are located,
      The archways, furniture and podiums are based on the cut-out shapes of Jonathan Simkhai’s clothingThroughout the store, garments are presented on identical sets of hangers along minimal white rails.
      The minimalist interior is also enlivened by simple floral displays, presented in a variety of crafted vases.
      The minimalist interior is enlivened with simple floral decorationsAruliden, which was founded in 2006 by Rinat Aruh and Johan Liden, is headquartered in New York City with offices in San Francisco and Amsterdam.
      The agency has several products shortlisted for this year’s Dezeen Awards, including the Whoop 4.0 fitness wearable and the Series One Desk 27 video-conferencing device. It has also designed a series of mirrored structures to be built in a forest in Ontario, Canada.
      The photography is by Sharon Radisch.

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      AMO cocoons Jacquemus store in pillows to create “bedroom-like” interior

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      Dutch studio AMO has used pillows to form the display stands and line the walls in this tactile womenswear boutique by fashion brand Jacquemus in Paris, France.

      The 60-square-metre shop, set in the department store Galeries Lafayette Haussmann, was designed to feel like a bedroom according to AMO, which is the research and design arm of architecture firm OMA.
      AMO has lined a Jacquemus store with large cream-coloured pillows”The location of the shop within the Galleries Lafayette – without windows or daylight – led to the idea of creating a bedroom-like environment: a room entirely made of pillows,” said OMA partner Ellen van Loon.
      “It is a cocooning and relaxed atmosphere, inviting customers to lounge and browse for as long as they want,” she told Dezeen.
      The store is designed to feel like a bedroomThe linen pillows were designed to reference the textiles of Provence, where Jacquemus founder Simon Porte Jacquemus grew up.

      “We explored a material palette that aims to capture the atmosphere of Provence,” said OMA architect Giulio Margheri.
      “The fabric of the pillows is a reference to the linens of the South of France,” he told Dezeen.
      Linen pillows reference the textiles of ProvenceAMO also added a stack of pillows to serve as a seating area for shoppers, as well as a spot to showcase Jacquemus’ signature tiny bags.
      The studio completed the store’s easy-going atmosphere with the help of a stripped-back scheme, including cream-coloured carpet, soft lighting and clothing rails in a milky beige hue.

      Jacquemus creates surrealist interpretation of his own bathroom for Selfridges pop-up

      AMO previously designed another store for Jacquemus inside the London department store Selfridges. Much like the brand’s Paris outpost, the shop was wrapped entirely in a single material – clay.
      “The design of the Jacquemus boutiques in London and Paris began with the idea of testing the limits of working with a single material,” Van Loon explained.
      “Instead of working on the design first and deciding on the materials afterwards, we let the materials dictate their presence in the space.”
      Changing rooms are coloured in the same creamy hueThe Jacquemus store is one of many retail interiors AMO has designed in Paris.
      Among them is a pop-up shop by Tiffany & Co that showcases an array of jewellery pieces and a flagship store for clothing brand Off-White that features abstract interpretations of Parisian courtyards and flea markets.
      Project creditsPartner: Ellen van LoonArchitect: Giulio MargheriTeam: Valerio Di Festa, Camille Filbien and Mattia Locci
      The photography is by Benoit Florençon, courtesy of AMO.

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