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      PL Studio applies Moroccan-inspired palette to London townhouse

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      Interior design office PL Studio has transformed an east London townhouse using colours and graphics that take cues from the Jardin Majorelle in Marrakesh.

      The three-storey, new-build house features similar shades of blue, green and yellow to the Morrocan villa that was once home to artist Jacques Majorelle.
      The home’s colour palette draws from the Jardin Majorelle in MarrakeshFurther green tones allude to the villa’s verdant garden, while soft pink hues bring a sense of overall “warmth and joy” to the palette.
      PL Studio designed the scheme for creative couple Tom Lalande and Julian-Pascal Saadi, who live in the house with their chihuahua puppy, Sasha-Lee.
      A green shade was applied to the main bedroomThe studio founders, couple Sabrina Panizza and Aude Lerin, felt the design should reflect their clients’ love of colour.

      “Although we admired the architecture and loved how the townhouse was beautifully filled with natural light, we felt that overall, the property was lacking character and positivity,” said the pair.
      “We wanted to create a home that reflected our clients’ personalities and joyful spirit, a home filled with positive energy.”
      The reception room features cobalt blue walls and arch graphicsLalande and Saadi had recently returned from a trip to Marrakesh, which led this to becoming the starting point for the design.
      The reference is most evident in a reception room at the house’s entrance, which features cobalt blue walls, a colour-block rug, plants and a Tom Dixon Etch pendant light in gold-toned brass.
      The arch graphics feature on both walls and doorwaysThe effect is heightened by paint graphics that include arched openings – both real and illusionary – and stepped blocks that create the suggestion of extra staircases.
      As Saadi works as a psychologist, this room primarily serves as a waiting room for his clients.
      Picture-frame-style graphics provide a backdrop to the dining tableThe couple’s main living space occupies the uppermost floor, where an L-shaped room gives the pair a combined kitchen, dining area and lounge.
      Geometric wall graphics tie these three spaces together but also highlight the divides between them. The most striking of these is a triptych of picture-frame-style blocks that frame the dining table.

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      “Our clients didn’t have a clear idea of what they wanted, but they had a strong desire to be surrounded by pieces of art, colours and objects that would give them good energy, which is so powerful,” said Panizza and Lerin.
      “They were not afraid of mixing different shades and colour combinations, so we went for bright, bold, and fearless!”
      A guest bedroom features a striped ceiling akin to a market stall awningThe main bedroom, located on the middle floor, uses subtly different shades of green to create colour depth. This is offset with monochrome stripes and pops of pink and blue.
      Also on this floor is a guest bedroom that doubles as a dressing room, featuring a striped ceiling that looks like a market stall awning and a pink bathroom framed by black linear details.
      Arches feature throughout these spaces, in the form of mirrors and wardrobes as well as wall graphics.
      A pink bathroom is framed by black linear detailsSaadi’s ground-floor office takes the place of a third bedroom. This room has a different character from the rest of the house, with details inspired by surrealist art.
      Key features include a sculptural table in the shape of a hand and ceiling wallpaper depicting a cloudy sky.
      A ground-floor office takes cues from surrealist art. Photo is by Aude LerinPanizza hopes the “kaleidoscopic” project can serve to inspire people who see London’s new-build homes as characterless compared with the city’s older properties.
      “We want to show it is absolutely possible to create a home with lots of personality and character. It just takes a bit of courage,” she told Dezeen.
      The photography is by Taran Wilkhu unless otherwise indicated. Top image is by Aude Lerin

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      Buller and Rice salon is a showcase of plant-based materials

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      East London hair salon Buller and Rice has opened a new venue with an interior design palette that includes seaweed, algae, cork and mushroom leather.

      Buller and Rice Wanstead is a salon that doubles as a lifestyle store, selling products ranging from homeware to wine.
      Company founders Anita Rice and Stephen Buller designed the interior themselves, filling it with bespoke creations from designers and makers including Natural Material Studio’s Bonnie Hvillum and Copenhagen-based Jonas Edvard.
      Buller and Rice Wanstead is a hair salon and lifestyle storeRice told Dezeen their ambition was to use as many plant-based materials as possible.
      “We wanted to deep dive into what could happen with plant matter,” she explained.

      The collaboration with Hvillum – who won the inaugural Bentley Lighthouse Award at Dezeen Awards 2023 – resulted in latex-like curtains made from a yellow algae-based material.
      The yellow-toned interior includes paper and seaweed lamps by Jonas EdvardEdvard’s contribution is a series of yellow pendant lamps made from recycled paper and seaweed, similar to those he previously made for Copenhagen burger joint, POPL.
      Rice said she spotted them by chance while enjoying a burger there. “When it turned out they were made from seaweed, I knew they were perfect,” she explained.
      Latex-like curtains by Natural Material Studio are made from algaeOther plant-based details include a cork wall and seat pads made from algae-based foam, while cushions made from mushroom leather will be added in early 2024.
      The space is also filled with plants, with many installed behind the front windows.
      Seat pads in the waiting area are made from algae foamBuller and Rice Wanstead is the third venue that the company has opened in east London, following salons in Hackney and Walthamstow.
      Rice said the project represents the latest step in a journey of exploration into eco-friendly materials.

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      Initially, they focused on simple natural materials like wood and cork. They then started experimenting with materials made from recycled waste products, including a sheet plastic made from yoghurt pots.
      “Our primary interest is in finding innovative and sustainable building materials that we can work into an aesthetically pleasing approach,” Rice said.
      Yellow tiles feature throughout the interiorThe renovation involved a complete refit of a former Chinese restaurant that had been shut down for years.
      A yellow colour scheme features throughout, marking a departure from the pink hues of the two other Buller and Rice salons.
      This shade can be found on bespoke concrete pieces created by London-based maker Smith & Goat, including an orthogonal reception desk, a wall-hung washbasin and the column-like legs of two styling stations.
      Plants can also be found throughout the spaceStainless steel features on both walls and surfaces, offering a utilitarian feel that contrasts the warmth of the yellow. “Practicality had a hand in that decision,” Rice admitted.
      The space is completed by custom-made barber chairs, frameless arch mirrors, yellow tiling and speckled vinyl flooring from manufacturer Tarkett.
      The photography is by Megan Taylor.

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      Wooden elements “take centre stage” in Japandi-style Studio Frantzén restaurant

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      Scandinavian and Japanese influences come together at Studio Frantzén, a restaurant in London’s Harrods department store designed by Joyn Studio.

      Stockholm-based Joyn Studio created the sleek interiors for Studio Frantzén – the latest restaurant opened by chef Björn Frantzén.
      Top: visitors enter via a domed reception area. Above: the bar is characterised by back-lit glass bricksThe two-storey eatery is arranged across a main restaurant and bar on the fifth floor, as well as on an additional mezzanine and rooftop terrace on the sixth floor of Harrods.
      In stark contrast to the department store’s famed Edwardian baroque terracotta facade, Studio Frantzén features a contemporary palette that takes cues from both Scandinavian and Japanese design – a trend known as Japandi.
      Studio Frantzén is located across two levels at HarrodsVisitors enter the restaurant at a domed reception area, which references Scandinavian churches and forest chapels, according to the studio.

      The curved walls were clad with blocky cherry wood while illustrations of Nordic animals by Ragnar Persson decorate the ceiling and a Swedish wooden Dala horse was perched on the welcome desk.
      “Undoubtedly, wood takes centre stage in this restaurant,” Joyn Studio founding partner Ida Wanler told Dezeen.
      The main restaurant is composed of two dining hallsThe reception area gives way to a “glowing” bar composed of stacks of glass bricks bathed in amber light, which is mirrored by a ceiling of gridded copper.
      Informed by traditional Japanese izakaya – a type of casual watering hole serving snacks – the large main restaurant is composed of two dining halls with bespoke geometric terrazzo and marble flooring.
      One features bespoke timber seatingOne hall features an open kitchen and Joyn Studio-designed chunky seating booths and sofas carved out of end-grain wood. This was sourced from a large Hungarian pine tree, cut into cubes and then glued together piece by piece.
      This double-height space is illuminated by a spindly oversized chandelier by Swedish studio Front.
      The other follows the same gridded geometry as the barThe other dining hall, tucked around the corner and connected to a wine cellar, follows the same geometry as the bar.
      Sliding timber doors and a gridded wooden ceiling are interrupted by ultramarine benches in booths and delicate, ribbed paper lampshades.

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      “To create a distinctive Nordic dining experience with Asian influences within a historic London building, we delved into the architectural and design legacy of the early 20th century,” explained Wanler.
      “Inspired by the journeys of our predecessors to the far east, where they assimilated influences and pioneered a style known as Swedish Grace, we embraced the resonances between traditional Japanese and Nordic architecture and craftsmanship,” she continued.
      Mirrored artwork by Caia Leifsdotter was included in the mezzanineOn the upper floor, the mezzanine includes three intimate dining booths accentuated by a burnt orange carpet and a wall-mounted Psychedelic Mirror by designer Caia Leifsdotter.
      Characterised by marble, rattan and wooden accents, the rooftop terrace offers expansive city views.
      The rooftop terrace offers views of London”Aiming to infuse creativity into the traditional luxury context of Harrods, we envisioned a relaxed and comfortable ambiance with sparks of richness created in unexpected ways,” said Wanler.
      In 2022, Joyn Studio was longlisted for the title of emerging interior design studio of the year at the Dezeen Awards.
      Elsewhere at Harrods, fashion house Prada recently opened a green-hued pop-up cafe that referenced one of Milan’s oldest patisseries.
      The photography is by Åsa Liffner.

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      Cake Architecture draws on Bauhaus principles for Hoxton bar

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      Cake Architecture has renovated A Bar with Shapes for a Name, an east London cocktail bar featuring “utilitarian” interiors.

      A Bar with Shapes for a Name owes its title to the yellow triangle, red square and blue circle that are emblazoned on its facade in a nod to the primary colours and understated geometry commonly associated with the Bauhaus.
      Tall tubular chairs feature on the ground floorWhen creating the bar’s minimalist interiors, Dalston-based Cake Architecture took cues from the influential German art and design school that was established in 1919 and advocated for an emphasis on functionality, among other similar principles.
      Located at 232 Kingsland Road in Hoxton, the cocktail bar was renovated by the studio to serve as a multipurpose venue.
      Cake Architecture created a smooth ground-floor bar from reddish plywoodCake Architecture doubled the bar’s capacity by adding a basement, which acts as a “kitchen-bar” room, and refurbished the ground floor’s existing seating area as well as a classroom-style space that offers a location for rotating events or workshops.

      “These spaces have specific functional requirements and we selected colours and materials to suit,” studio director Hugh Scott Moncrieff told Dezeen.
      It was positioned opposite a rectilinear light installationUpon entering the bar, visitors are greeted by the main seating area or “showroom”, which was designed to be warm and inviting.
      Tall tubular chairs finished with neutral rattan were positioned around chunky geometric tables made from birch ply stained to a rich, reddish-brown hue.
      The renovation included the addition of a new basementThe team also used the same timber to create the space’s curving bar, which is illuminated by a squat, cordless table lamp by lighting brand Flos.
      Opposite the bar, a glowing rectilinear light installation by photographer Steve Braiden was fitted to the wall underneath bench-style seating reminiscent of early Bauhaus furniture designs.
      A steel, glass-topped table sets an industrial tone”We looked in particular at projects by the Bauhaus founder Walter Gropius,” reflected Scott Moncrieff.
      “Gropius is a master of this elegant zoning through the application of colour and form,” he added.
      The “classroom” includes steel-framed tablesDownstairs, the low-lit basement was created to house additional seating as well as “all of the crazy machinery they use to prepare the drinks,” the designer said.
      The basement is characterised by a bespoke central table by Cake Architecture and furniture designer Eddie Olin.
      Red, yellow and blue accents define a sculptural lampConsisting of a steel frame that “floats” over a central leg, the table was topped with a glass surface and its base was clad in phenolic-coated plywood to match the floor and walls.
      “This new basement is predominantly a production space – so the palette reflects this with hardwearing, utilitarian and industrial materials,” said Scott Moncrieff.

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      A thick, felt curtain in ultramarine adds a pop of colour to the otherwise pared-back space.
      With its pale blue walls and Valchromat-topped, steel-framed tables, the ground-floor “classroom” pays homage to the Bauhaus as an educational institution.
      A tall blackboard provides space to learn in the classroomBrighter blue vinyl covers the floors while a sculptural lamp featuring red, yellow and blue circles echoes the bar’s logo.
      A tall blackboard and overhead strip lighting add to the classroom feel of the space, which is used for various group events.
      Thin vertical lights frame the bathroom sinkCake Architecture worked closely with the bar’s founders Remy Savage and Paul Lougrat when creating the interiors, which were primarily informed by the duo’s way of working.
      “The team has a conceptually driven ethos drawn from the theory and practice of Bauhaus embedded in everything they are doing. We found that incredibly exciting,” explained Scott Moncrieff.
      A Bar with Shapes for a Name is located on London’s Kingsland Road”The Bauhaus phrase ‘party, work, play’ was pertinent to some early ideas and this carried through all our design discussions,” noted the designer.
      “The space enables these three things. Separately as individual functions and simultaneously as a representation of the overall atmosphere of a bar!”
      Cake Architecture previously worked with interior designer Max Radford to create a curtain-wrapped speakeasy in London’s Soho. The studio also designed a workspace for London agency Ask Us For Ideas in the same part of the city.
      The photography is by Felix Speller. 

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      HawkinsBrown renovates Reading offices to create a “connection to nature”

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      A stack of meeting rooms and a moss-covered wall overlook the atriums of Here + Now, a pair of office buildings in England refurbished by architecture studio HawkinsBrown.

      Informed by changing attitudes to workplace design following the Covid-19 pandemic, the two buildings have been renovated with a focus on wellbeing and a connection to nature.
      They are located within a wider business park in Reading, formerly used by Microsoft.
      HawkinsBrown has renovated a pair of offices in Reading called Here + NowConnected by a bridge at their centre, the two buildings contain different facilities. One of them, named Here, offers space for more established companies, while the other, named Now, contains offices for smaller companies and start-ups.
      “Here + Now is located on a business park, not in a city centre, which provides users with a much closer connection to nature and therefore better opportunity for activity and wellbeing,” HawkinsBrown partner Massimo Tepedino told Dezeen.

      “The idea is that companies can scale up or down and thereby stay on the campus for longer – this ultimately helps to create a sense of community,” he added.
      A moss-covered wall overlooks an atrium in the Now buildingWhile the two buildings share a similar material and colour palette, the finishes of each were slightly different based on its tenants.
      The approach to the Now building focuses on more cost-effective, flexible spaces, while the Here building is finished to a higher specification.
      Wood has been used to form seating areas and quiet nooksEach of the two buildings features a large arrival atrium designed to evoke a sense of “wonder”.
      In the Here building, this space has a stack of meeting pods described by HawkinsBrown as a “treehouse”, while dehydrated moss-covered balconies animate the atrium in Now.

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      Shared by both buildings are a range of on-site amenities, including a gym and treatment rooms, as well as a “lifestyle manager” who organises events and workshops.
      “The benefit of having two buildings share amenities is that office spaces can accommodate a wide range of budgets, while everyone benefits from best-in-class amenities and the opportunity to socialise with established professionals and young entrepreneurs,” explained Tepedino.
      The two buildings are connected by a bridgeThe glass and metal structures of the existing buildings have been treated internally with wooden panelling, which complements new wooden seating areas and nooks.
      Particular attention was paid to the colour scheme, with a muted palette intended to evoke the nearby natural landscape and create a relaxing atmosphere.
      The project is located on a business park”We know that colours can facilitate, regulate, and even influence people’s behaviour – our colour palette takes its cues from the natural landscape and compliments the neutral tones of the existing buildings,” explained HawkinsBrown.
      “The bathrooms take inspiration from spas and hotels, with green shades and bold graphics create a strong visual connection to nature and a calming environment.”
      Here + Now has been shortlisted in the large workplace interior category of Dezeen Awards 2023.
      Other projects recently completed by HawkinsBrown include a student hub at Queen’s University Belfast with RPP Architects and the transformation of the historic Central Foundation Boys’ School in London.
      The photography is by Jack Hobhouse.

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      Studio FB creates gallery-like interior for Frame store in Marylebone

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      French interior design Studio FB and the co-founder of fashion brand Frame, Erik Torstensson, have designed a California-informed store for the brand in London.

      The store’s concept draws from the brand’s Californian origins as well as European influences, which is reflected in the lighting, furniture and materials.
      Studio FB designed a minimalist store for Frame”The Californian universe with these modernist architectures with a free plan, skylights and the opening of spaces to the outside was our inspiration basis,” Studio FB told Dezeen.
      “We imagined this new concept design layout as open as possible, which can be compared to a gallery.”
      The store is arranged round a large central pillarTo create a greater connection with the street, the studio redesigned the facade by adding a curved, full-height glazed wall, which was set behind the original piers.

      “We designed a long-curved glass like a contemporary insert which contrasts radically with the classic London pillars preserved,” said the studio.
      The studio aimed to create a gallery-like atmosphereWithin the store, the studio aimed to mimic the atmosphere of an art gallery with a polished concrete floor serving as a base for a central pillar constructed from stained birch wood veneer.
      The store’s rails were custom-designed with a distinctive hand-moulded abstract-shaped end-piece serving as the highlight
      With in the fitting room, the ceiling, walls and doors were upholstered in fabric by textile company Kvadrat.
      Custom-designed rails were created for the store”The rounded central wooden element was designed as a sculptural object, which gives a residential feeling from the 50s,” the studio explained.
      “The backspace invites the cabins and lounge area becomes more intimate all-in fabric and brings sophistication to the space. Pieces of furniture and artwork sublimate the atmosphere,” the studio continued.
      “The general atmosphere is similar to an art gallery with raw materials such as concrete on the floor and white walls.”
      The stores changing areas have fabric wallsFB Architects and Torstensson worked together to acquire artwork and collectable design pieces to reinforce the gallery atmosphere.
      “It was a thorough process to ensure the most unique response possible to Frame,” said the studio.
      “Erik had a precise vision of his brand, so we exchanged a lot together on many artistic fields to build the brand’s architectural DNA.”

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      A sculpture by Serbian visual artist Bojan Šarčević crafted from wood and limestone sits in the display window. Also in the store are two original 1950s Gio Ponti stools, crafted from wood and textiles.
      The store was decorated with wall-mounted fixtures designed by French lighting designer Jean Perzel, as well as geometric fixtures created by French architect Pierre Chareau, to create a soft and gentle lighting ambience.
      Artworks feature throughout the storeTorstensson used AI as a sketching tool to design custom objects for the space, such as large brutalist stone tables and chrome custom-made sculptures that were then realised by architecture studios including Bucktron Studio Sweden.
      “I’ve been learning and expanding my skills with AI for the last year, it creates a superpower when it comes to speed, as it allowed me to generate the visual concept at a greater pace and scale,” said Torstensson.
      “This creates exciting results and provides a new outlook on design. I simply use it to visualise my initial ideas in greater detail in order to bring my ideas to life.”
      The store is Frame’s second in the UKOther retail interiors recently featured on Dezeen include a stationery store interior made from white-oiled wood by Architecture for London and a store interior for Ms MIN in Shanghai, China, by Neri&Hu.
      The photography is courtesy of Frame.

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      Gallery Fumi marks 15th anniversary with design exhibition informed by biology

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      To celebrate 15 years of Gallery Fumi, the London gallery is hosting the Growth + Form exhibition of “functional art”, featuring sculptural furniture and lighting with organic forms.

      The Growth + Form exhibition includes new works by 16 of the 28 past Gallery Fumi exhibitors, responding to themes of transformation, regeneration and biological growth patterns.
      The Growth + Form exhibition celebrates Gallery Fumi’s 15th anniversaryIt was designed by architectural designer Leendert De Vos and curated by design historian Libby Sellers, who invited former exhibitors back to showcase new pieces in a group display.
      The exhibition title and theme were informed by the On Form and Growth book by Scottish biologist D’Arcy Wentworth Thompson, which analyses the mathematical harmony of growing shapes in biology.
      Pieces in the exhibition were informed by biologyResponding to this biological starting point, furniture and lighting with organic shapes and natural materials can be seen throughout the exhibition.

      Danish artist Stine Bidstrup created a sculptural chandelier titled Light Entanglements, made up of twisting clusters of hand-blown glass.
      Light Entanglements is a chandelier made from hand-blown glassDifferent lengths of painted sticks were combined to create Marmaros Metamorphosis II, a circular decorative wall piece with a textured, tufted-like surface by sculptor Rowan Mersh.
      “Revisiting the very beginning of his career when Mersh used cheap materials to experiment with techniques, in this work using lacquered coloured sticks, he creates forms with the details and skill level he currently attains when using precious materials,” said Gallery Fumi.
      Seating crafted from a single yew log is featured in the exhibitionAs the gallery celebrates its 15th anniversary, Sellers likened its growth to the formation of crystals – the material traditionally associated with 15-year anniversaries.
      “Grown from small particles into a solid form of geometric beauty, crystal is both a poetic metaphor for Gallery Fumi’s own development over the last 15 years and an opportunity to explore the creative affinity between science, art, and the intricate nature of constructions,” said Sellers.

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      “After all, is this not a definition of design? The meeting of knowledge, form-making, material exploration and beauty?” Sellers added.
      “The works are vibrant and active – sprouting, swirling, twisting, turning – transferring material and form into objects of beauty.”
      Wegworth created a crystal salt vase for the exhibitionAlso on show was a wooden cabinet covered in hand-painted shingles by Berlin-based designer Lukas Wegwerth, who also created a crystal salt vase titled Crystallization 183.
      “Crystallization 183 was identified by Sellers as most significant for the exhibition, as not only is the 15-year anniversary traditionally celebrated with crystal, but the process of growing the crystals is a poetic metaphor for Fumi’s growth as a gallery,” Gallery Fumi said.
      The wall sculpture Marmaros Metamorphosis II has a tufted textureOther pieces on display include a sculptural copper floor lamp with a stone base by London design studio JamesPlumb and a chair by British designer Max Lamb crafted from a single yew log.
      “Tapping into the creative affinity between science and art, the pieces created for the show will display fluid organic forms, natural materials and geometric structures,” said Gallery Fumi.
      The exhibition is on display from 7 to 30 SeptemberOther designers showing work include US sculptor Casey McCafferty, Italian designer Francesco Perini, design studio Glithero, Chinese material designer Jie Wu, German ceramic artist Johannes Nagel, Finnish artist Kustaa Saksi, British artist Leora Honeyman, Spanish artist Saelia Aparicio, British artist Sam Orlando Miller, design studio Study O Portable and furniture design studio Voukenas Petrides.
      Gallery Fumi was founded in 2008 by Valerio Capo and Sam Pratt. It has previously showcased work including a Jesmonite lighting collection by British designer Lara Bohinc and a limited-edition bench by JamesPlumb made using medieval dying techniques.
      The photography is courtesy of Gallery Fumi.
      The Growth + Form exhibition is on display at the Gallery Fumi in London, UK, from 7 to 30 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Burberry draws on minimalism at New Bond Street store

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      British luxury brand Burberry has renovated its New Bond Street store, which has been decorated with a minimalist scheme that is populated with striking contemporary furniture.

      Set on a prominent spot on the corner of New Bond Street and Conduit Street in central London, the 22,000-square-metre store is split across three levels.
      Burberry’s flagship store is located on New Bond StreetThe flagship store has a minimal open-plan interior that is characterised by stark white floor, walls and ceilings which are offset by pops of gold, blue and tones of brown.
      The fixtures of the store such as its pillars, staircase, wall displays and mirrors bring a rigid and strict geometry to the space that is complemented by a panelled ceiling which was designed to mimic the brand’s iconic check.
      It has a minimalist interior”The minimalist interior is punctuated with an eclectic mix of contemporary furniture, creating a stripped-back setting designed to spotlight key Burberry pieces,” said Burberry.

      “Overhead lighting has been crafted to replicate the iconic Burberry Check – a pattern introduced in the 1920s, referencing the brand’s rich heritage.”
      Burberry’s check was incorporated across the ceilingCeiling panels were organised in a gridded formation with spotlights set between each. Lighting strips were added to the panels at various intervals throughout the store and reference the multiple lines of the signature check.
      Throughout the store, slivers of checkered tiles punctuate the stark white floors. A classic black-and-white checkered tile covers multiple areas of the interior, zoning numerous different spaces including ready-to-wear and accessory sections.
      Other combinations of tiling include a dark brown and black rectangular tiles that are similarly organised in a checkerboard formation.

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      In contrast to the rigid lines of the store’s more permanent fixtures, furniture brings a softer and more playful look.
      Curving sofas and armchairs were upholstered in bold shades of beige, brown and vibrant blue and placed on top of matching area rugs and carpets.
      Areas of the store were decorated with pops of colourDisplay tables in blocky shapes are carried throughout each of the store’s floors and sit alongside glass, metal and mirrored vitrines.
      Clothing rails draw on an industrial look, with the floor-to-ceiling structures reminiscent of scaffolding systems, however, set apart by their polished and reflective finish.
      Polished metals were paired with glass”We are excited to open the doors of our newly refurbished flagship store on New Bond Street in one of London and the world’s premier luxury shopping destinations,” said Burberry’s chief executive officer Jonathan Akeroyd.
      “The store showcases our beautifully crafted products in a luxury setting that connects our customers with our brand and unique heritage.”
      Blocky display units were placed throughoutIn 2022, British designer Daniel Lee was announced as Burberry’s creative director following a shock exit from Bottega Veneta. Soon after his appointment, Lee revealed the “first creative expression” under his direction in the form of an archive-inspired charging knight logo and serif logo font.
      Earlier this year, British artist Tom Atton Moore was commissioned to create a series of hand-tufted textile installations for Burberry’s Paris showroom and Rue Saint Honoré store.
      The photography is courtesy of Burberry.

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