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      Pink-tinged paint store Lick pays homage to London's art deco buildings

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      Dusky pink surfaces appear throughout the Lick store in southwest London, which local practice Oskar Kohnen Studio has designed as a “deliberate celebration of paint”.

      Lick’s store is nestled among a parade of boutiques on Northcote Road and is the first brick-and-mortar outpost opened by the paint brand since its launch in 2020.
      Lick has opened its first physical store in LondonTo honour the occasion, Oskar Kohnen Studio wanted to design the 55-square-metre store as a “deliberate celebration of paint”, which he describes as “one of the most immediate and most intuitive ways to create a space”.
      “We live in a time where interiors are full of marble and precious finishes and I wanted to do the opposite,” said the studio’s titular founder.
      Pink paint was applied to the store’s ceiling and part of the wallsPink-tinged paint store Lick pays homage to London’s art deco buildings

      Lick’s facade, ceiling and a majority of its walls were therefore painted a bespoke dusky pink hue called Northcote 65 that the brand created specifically for the opening.
      Walnut wood trims run around the central tableKohnen says this largely monochromatic colour scheme is a nod to the Northcote Road of the past.
      “Looking at old pictures of the high street shops from the 1950s, every one of those stores used their own simple colour combination to give identity,” he explained. “It’s so beautiful how colour was used back then.”
      The store’s floor has white and grey tilingIn the store’s central room, the lower half of the walls was painted off-white to create a contrast with the ceiling and in turn draw more attention to the loftiness of the space.
      This room was designed to have a distinctly art deco feel with the help of a handful of clean, shapely details. At its centre is a white oval table with walnut wood trims and a curved metal pendant lamp suspended directly above.
      “Northcote Road pretty much ends at the iconic Battersea Power Station, which has exactly those deco elements,” said Kohnen. “I’ve always been a fan of London art deco, which is somehow less fancy and simple, quite often just painted simple ornaments.”

      Oskar Kohnen Studio adds pastel cabinetry to Lunettes Selection store

      Lick’s paint tins are showcased on a custom shelving unit, with one side finished in pegboard panels for mounting brushes, rollers, finishing tape and other handy tools.
      “I wanted to create the feeling of a workshop or atelier,” added Kohnen. “I wanted to stay true to the Lick DNA, making sure the store was a place one could not only pick colours but also try them out and get creative.”
      In this spirit, the store’s grey-and-white tiled flooring mimics that seen in the Atelier Martel – an art studio that architect Robert Mallet-Stevens completed for sculptors Jan and Joël Martel in Paris in 1927.
      Products are mounted on pegboard panellingShould customers want a more in-depth consultation with one of the Lick team, they can head to the back of the store. This area is centred on a vintage steel-legged table by Danish designer Nanna Ditzel and black editions of the curved 3300 chair by Swiss designer Bruno Rey.
      Another small seating area located near the storefront features a duo of sage-green velvet armchairs.
      Vintage furnishings feature throughout the interiorAnother striking paint store to be featured on Dezeen is Helsinki’s Cover Story, in which a number of unfinished details are meant to evoke thoughts of renovation and home improvement.
      Previous colour-focused retail projects by Oskar Kohnen Studio include a mint-green eyewear store in Berlin with towering floor-to-ceiling cabinets.
      The photography is by Alexander Edwards.

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      FOG Architecture transforms Beijing courtyard house into fragrance store

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      Chinese studio FOG Architecture has turned a courtyard house in Beijing into a flagship store for fragrance brand ToSummer with exposed wooden roof trusses and columns.

      Located within a 500-square-meter Siheyuan complex, the store occupies  a 280-year-old courtyard house that are common in the region.
      The store is located at a restored courtyard house in BeijingFOG Architecture renovated the building to reveal its original architecture, which features triangle-shaped timber roof trusses and series of wooden columns.
      Layers of decorations added on the structure over the years as well as some of the interior walls were removed to expose the core wooden structure of the building as well as to create an open view of the space.
      The studio exposed the wooden roof trusses and columns of the original building”We ‘skimmed’ the building to expose its ‘skeleton’,” said the studio. The resultant ‘column field’ became the visual centre of gravity of the space as well as what defines its outline.”

      “One of the challenges of the project had to do with the building’s old and new functions – more specifically, how to transform this venerable courtyard which has stood for nearly 300 years as a private residence into a commercial space that is neighbourly, communal, and all-inclusive,” it continued.
      Product display areas are arranged around the courtyardsGlass windows were installed at the storefront, inviting visitors on the street to observe the complex layout of the old courtyard house, while glass walls were used to divide the space.
      Product display areas were arranged around three courtyards of various sizes at the ground level of the complex, each connected by a bridging hallway, which the studio described as “symbol of graduating from the past to the present”.

      FOG Architecture creates kinetic display for Super Seed’s Hangzhou store

      On the first floor,  FOG Architecture remodelled the roof space to create a lounge area overlooking the building’s roofs.
      These roofs were restored with the same grey brick tiles from the original building layered in the same density.
      Grey brick tiles from the original building are restoredA rain chain was hung from the roof connecting to a hundred-year-old well of the site. The well-preserved brickwork of the well echoes the delicate crafts of the roof tiles.
      FOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
      Previously the studio has completed flagship stores for ToSummer in Beijing and Shanghai. Other recent retail project from the studio include Super Seed’s Hangzhou store featuring kinetic display.
      The photography is by InSpace Architectural Photography.
      Project credits:
      Design team: Zou Dejing, Wu Leilei, Wang Shengqi, Tang Mo, Lei Ronghua, Jiang Lu, Huang Yingzi, Zhuang Shaokai, Sun Yuan, Zhang Xinyue, Chen Yixuan, Zheng Yining, Tao Xinwei, Cao Xiaomao, Hou Shaokai, Xiong Aijie, Khoon Choi (client representative), Zhan Di, Zheng YuProject management: Shen Qianshi (client representative)Lighting Design: Zhang Xu, Liben DesignStructural engineering Consultant: Tao Xinwei, Wang HaiboConstruction drawing: BS DesignContractor: Youlong Jinsheng

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      Karimoku opens Kyoto showroom informed by traditional houses and temple gardens

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      Designer Keiji Ashizawa has created the interior of Japanese furniture brand Karimoku’s second showroom, which features a combination of its own wooden furniture and pieces by local artists and artisans.

      Set in a three-storey building, the brand describes Karimoku Commons Kyoto as a “hybrid space”, which will function as a showroom and also house office spaces for employees.
      The space is located inside a former machiya – a traditional Japanese wooden townhouse – in Kyoto, a city known for its temples, Shinto shrines and gardens.
      The showroom is located in a Kyoto townhouseAshizawa, who has worked with Karimoku for years and also designed its first showroom in Tokyo, looked to the history of both the city and the building when designing the interior.
      “I really wanted to use the language of the townhouse and also took inspiration from Kyoto gardens,” Ashizawa told Dezeen.

      For the showroom’s ground floor area, he drew on the doma areas in traditional Japanese homes, which had bare dirt floors and functioned as a bridge between the indoors and the outdoors.
      It features wood furniture and wood panelling by KarimokuHere, Ashizawa placed furniture in light-coloured wood, including chairs by British architect Norman Foster and pieces by Danish studio Norm Architects and Ashizawa himself.
      The floor is grey concrete, which was matched by pale-grey plaster walls and a ceiling in the same colour.
      Art and ceramics by Japanese artists decorate the spaceWooden slats, of a kind traditionally used in Kyoto homes and stores to let light into buildings while maintaining privacy, cover parts of the glazing at the front of the room.
      Light wooden panelling by Karimoku hides built-in storage spaces and functions as a shelf.
      The first floor has a darker colour paletteOn the first floor, Ashizawa chose to use a darker colour palette, with furniture pieces in smoked oak wood and flooring and wall panels in dark wood.
      “When you visit a tourism house or a temple in Kyoto, the old wood, like on the temple floors, is a very dark colour,” he said. “I thought such a colour had to be the key colour [for the project].”
      The layout of this area also drew on the walkways and paths of Kyoto’s temple gardens.
      “It’s more of a guide to how to articulate the space,” Ashizawa explained. “We can think of the furniture as an art piece or a stone – it’s a kind of installation.”
      A wall alcove functions as a tokonoma display spaceThe top floor of Karimoku Commons Kyoto will function as a “library space” and showcase the latest collections and collaborations from the contemporary Case Study, Karimoku New Standard, MAS and Ishinomaki Laboratory brands.
      Throughout the showroom, earthy ceramics and rough-hewn sculptures by Japanese artists were used as decoration, which add to the organic feel brought by the wood.

      Keiji Ashizawa draws on “whiteness of tofu” for tactile Saga Hirakawaya restaurant

      Pieces by ceramics brand Nota Shop in the nearby Shiga prefecture and vases by Kyoto artist Ai Ono were among the objects chosen for the space by stylist Yumi Nakata, who worked with Ashizawa on the project.
      These were placed on tables and shelves as well as in wall recesses informed by traditional Japanese tokonoma alcoves, where homeowners would display artistic objects.
      Keiji Ashizawa designed the interior of the showroom”There are so many places in which to show something,” Ashizawa said of Karimoku Commons Kyoto.
      “In a traditional Japanese house, there are many spaces like this, showing paintings, ceramics or flowers, which I think is one of the beauties of the culture of the Japanese house. In many ways, we tried to make such a space.”
      The top floor displays a variety of furniture piecesKarimoku, which is Japan’s largest wooden furniture brand, started out making traditional Japanese furniture.
      It now also works with a number of designers on the more contemporary sub-brands Case Study, Karimoku New Standard, MAS and Ishinomaki Laboratory, which are the four brands that will be sold in the Karimoku Commons Kyoto showroom.
      The Kyoto space is Karimoku’s second showroom after TokyoAshikawa hopes the space will help to promote a modern design aesthetic.
      “Karimoku is trying to promote modern furniture in modern life,” he said. “I need to explain about the Japanese living space situation – for example, in 1960, sixty years ago, we didn’t have much furniture in the living space.”
      “And then the modern living space came to Japan and people started buying their tables, chairs and even the sofa; it’s quite new, so people don’t necessarily understand how to use a sofa,” he added.
      “Japanese living spaces can be too messy, so it’s quite nice to show them like this.”
      Previous projects by Ashizawa include a curve-shaped tofu restaurant and a Blue Bottle Coffee shop in Kobe. Karimoku recently collaborated with Foster on a collection of furniture used in the architect’s Foster Retreat in Martha’s Vineyard.
      The photography is by Tomooki Kengaku.

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      Halleroed combines futuristic and primitive for Acne Studios store in Chengdu

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      Fashion brand Acne Studios has opened its latest store in China, which was designed by Stockholm studio Halleroed and is located in the submerged SKP department store designed by Sybarite in Chengdu, China.

      The 338-square-metre store has a discrete sandstone exterior marked by a red LED sign displaying the brand’s logo.
      Inside, grey sandstone walls contrast against sculptural tie-dye furniture in earthy tan hues by British designer Max Lamb.
      The store is located inside Chengdu’s SKP department store”Our inspiration was aesthetically playing with design from the 1980s and 90s, and how that period looked at the future,” Halleroed founder Christian Halleroed told Dezeen.
      “The inclined stone clad walls, the futuristic lighting together with the Daniel Silver mannequins – we thought of a futuristic space/computer age feel, but in a contemporary way of putting it together,” he added.

      “We clashed this with the Max Lamb sculpture-like furniture that has a more primitive, earthy feeling.”
      It features tactile, soft seating by Max LambAs well as the furniture, Lamb designed four fabric-clad touchscreens that are mounted on slim poles throughout the store and provide an overview of the brand’s current collection and stock availability.
      Expressive mannequins by artist Daniel Silver and a light installation by designer Benoit Lalloz help to add a futuristic feel to the space.
      Lighting was designed to feel “like a spaceship”Halleored, which has designed a number of Acne Studios’ stores, normally works with Lalloz on the lighting but said the Chengdu store lights have a different feel to those in other stores.
      “These were done a bit differently than previous since they are recessed in the ceiling, but still has the typical look of Benoit Lalloz,” Halleroed said.

      Concrete infrastructure informs Acne Studios’ limestone-clad Rue Saint Honoré store

      “We wanted the lighting to feel like a spaceship,” he added.
      A large mirrored column in the middle of the store reflects its pared-down interior, which features a colour palette informed by the grey hues used for early computer designs.
      A large mirrored column sits in the centre of the sandstone room”We used a very restrained palette with the grey, monochrome sandstone on the floor and angled walls, high gloss white walls and ceiling, the black coves in the ceiling, and for the fixtures brushed stainless steel,” Halleroed said.
      “The Max Lamb and Daniel Silver pieces contrast this, with their brown batik fabric and the white with patina and silver mannequins.”
      Previous Acne Studios store designs featured on Dezeen include a “monolithic” store in Paris and a pink-ceiling flagship store in Milan’s Brera district.
      The photography is courtesy of Acne Studios.

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      Space10 invites public into its Copenhagen HQ with kiosk-like design library

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      IKEA’s innovation lab Space10 has worked with interior designers Spacon & X to transform the ground floor of its headquarters into a library and community space, with a look that is meant to recall a simple kiosk.

      Located in a former fish factory in the city’s Meatpacking District, Space10’s offices now include a library of 100 future-focused books, a snack bar and a design shop, alongside an existing gallery and event space.
      While the ground floor was already used for community-facing events, Space10 set out to expand the offering beyond “temporary” interactions and create a space that people could access at their leisure all day.
      A library, snack bar and design shop have been added to the ground floor of Space10’s Copenhagen headquarters”We wanted the ground floor to play a much stronger role in our mission to involve the many and diversify our perspectives,” Space10 designer Kevin Curran told Dezeen.
      “By opening a new library for the public, we suddenly have a space that feels alive, warm and welcoming, and it lets visitors spend as much time here as they like and explore Space10 on a daily basis.”

      The studio worked with its long-time collaborators Spacon & X on the interior design, which references kiosks and particularly the newsstands of New York to create an accessible setting.
      The design of the space was informed by newsstands with their racks of magazinesAccording to Spacon & X co-founder Svend Jacob Pedersen, the aim was to create a welcoming space where “nothing should be too curated or feel precious”.
      “It was important for us to work with understated but recognisable cultural symbols through materials and form so that the project itself encourages interaction and is perceived as public,” Pedersen said.
      The space is intended to be open to the public all day”From the beginning, the classic New York newsstand was a big inspiration as its layered setup with only the magazine’s headline and title visible piques curiosity and almost demands visitors to pick them up and browse,” Pedersen continued.
      “Furthermore, you can pick up a soft drink from the fridge, a souvenir cup from the shelves or some gum at the counter – an informal invitation to stay and browse.”
      This approach extended to the furniture choices, which blend custom pieces with more everyday designs, along with playful accessories such as metal pencil trays that recall hot dog holders.
      Accessories shaped like hot dog holders help to recall the kiosk environment”We shopped generic, almost iconic, cafe aluminum chairs and tables that many will recognise from their preferred kebab joint or touristy cafe, almost as an universal welcome sign,” said Pedersen.
      Among the custom pieces are shelves and seating with wooden cylindrical frames held together by looped steel joinery. The joinery is typically used to partition cattle farms and was partly chosen to reference the building’s location in the Meatpacking District, where meat businesses were formerly based.
      The steel joinery was fabricated for the cattle industry, where it is used for partitioningThe modular shelving for the library is finished with bright fabric pockets made of Hallingdal 65, a blend from Danish company Kvadrat with wool for durability and viscose for brilliance.
      At the centre of the kiosk space is Spacon & X’s industrial-looking Super Super table, made of sheets of bolted aluminium, and suspended above it is a custom lighting design made of upcycled office ceiling lights set in a wooden frame.

      Space10 proposes linking NFTs to furniture to encourage better care

      The studios chose materials and furnishings with the aim of reducing the carbon footprint of transportation and supporting the local economy, selecting metal for its durability and aluminium in particular for its recyclability.
      They also sought to cultivate an aesthetic that could be replicated at Space10 projects around the world with local and preferably upcycled materials.
      Upcycled materials have been used to make elements such as a wooden suspended lighting featureThe library at the space features 100 books curated by Space10 on the subject of how to build a better future for people and the planet. These will be supplemented with titles put forward by guest curators and the community.
      The building also includes two private floors for the Space10 team — an upper office area and a basement fabrication laboratory and tech studio.
      Space10 will open the doors of the ground floor to the public on January 26. It plans to host two exhibitions each year and keep all its events free to attend.
      The library features 100 titles chosen by Space10 for their ideas about designing for the futureSpace10 and Spacon & X have worked together since 2015, when Spacon & X designed the first version of Space10’s office. They later updated those offices together in 2019 to move away from an open-plan design.
      Space10 works “with and for IKEA”, functioning as an independent innovation lab whose research feeds into the brand’s future planning.
      Its recent projects have included the Carbon Banks NFT concept designed to inspire better care for furniture and the Updatables concept for upcycling furniture using artificial intelligence.
      Photography is by Seth Nicholas.

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      Biophilic design informs “otherworldly” moss-covered installation at luxury bag store

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      Creative studio Spacemen looked to biophilic design principles to construct a tree-like installation covered in moss, which forms the centrepiece of a flagship outlet for luxury leather brand Braun Büffel in Malaysia.

      Described by Shanghai-based Spacemen as a store that straddles an art gallery and a laboratory, the studio wanted to create an interior that would attract a younger audience and serve as “an abstract oasis” in Putrajaya’s IOI Mall.
      Spacemen designed the store interior for bag brand Braun BüffelCentral to this design is an oversized, organic-shaped sculpture clad in preserved flat moss, ball moss and lichen that is suspended from an illuminated disc in the middle of the shop.
      A rounded table clad in the same plants was positioned directly below to complete the installation. It also doubles as a plinth for Braun Büffel leather bags, which are displayed sparsely across the store like museum artefacts.
      It is characterised by a central moss-covered sculptureThe sculpture takes cues from biophilic design – a concept that encourages a closer connection between humans and nature when creating interior spaces.

      “The form was designed to seem as though it is sprouting from the ground towards the ceiling – towards the sun – hence why we integrated the membrane lighting ceiling above it, just like how it would grow out of a beaker in a mad scientist’s lab towards natural light,” explained Spacemen founder Edward Tan.
      “We envisioned an otherworldly concept akin to something out of a Hollywood sci-fi movie,” he told Dezeen.
      A green onyx feature wall was placed at the back of the storeTan said that Spacemen adopted a “maximal minimalism” approach when creating the store interiors, in an attempt to challenge the neutral shapes and colours often associated with luxury.
      Throughout the shop, lime plaster walls and bright white terrazzo floors are interrupted by various ornate display units and shelves magnified by floor-to-ceiling mirrors.

      Louis Vuitton overhauls stores with Yayoi Kusama polka-dots and life-like animatronics

      This cabinetry is made from decadent slabs of swirly orange onyx and jade marble, some of which are topped with glass vitrines that reveal small leather goods.
      Spacemen placed a green onyx feature wall at the back of the store, which sits behind furniture including a bespoke curved bench created from the same material as well as a custom oak armchair.
      Bespoke seating creates a waiting area for customersExplaining the decision to incorporate biophilic design into the Braun Büffel outlet, Tan said, “I think with the pandemic, people have taken to appreciating nature a lot more than before.”
      “This is especially true for people living in big cities where they live in apartments and are confined to office cubicles all the time, and do not have access to nature and greenery as much as they should.”
      “Therefore it has become a new form of luxury to be able to afford lush greenery and gardens indoors,” he concluded.
      Green and orange hues add colourful accents to the spaceOther retailers featuring similar designs include a store in Seattle for beauty brand Glossier with a mossy mushroom-covered mound and a Celine boutique in Paris that is characterised by large expanses of brass and marble.
      The photography is by David Yeow Photography.
      Project credits:
      Interior design: SpacemenMoss artist: Ohsum Mossum

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      Louis Vuitton overhauls stores with Yayoi Kusama polka-dots and life-like animatronics

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      Luxury brand Louis Vuitton has transformed its stores across the world for the launch of its anticipated capsule collection with Japanese contemporary artist Yayoi Kusama.

      The launch of the collaboration has seen a number of key stores across the world redecorated with Kusama’s signature polka-dots, life-like animatronics of Kusama painting in the windows of the stores and an inflatable replica of Kusama peering over the roof of Louis Vuitton’s Champs-Élysées store.

      Louis Vuitton’s Paris store is one of the numerous locations that have been decorated to mark the collaboration
      Louis Vuitton’s Champs-Élysées store, an art-deco building built in 1912, encompasses the largest of the Kusama activations. Large brush stroke polka dots were placed across the facade of the building and paired with an oversized, human-like replica of Kusama, which was tied to and peering over the roof of the building.
      In New York’s Meatpacking District, a Louis Vuitton pop-up location was transformed into a “canvas” for Kusama’s vision. The space was blanketed in yellow and covered in black polka dots of varying sizes across its walls, floors and ceiling.
      Pop-up stores were opened across the worldReflective chrome spheres were organised in the shape of Louis Vuitton’s logo and suspended throughout the interior of the pop-up space, endlessly reflecting the spotted motif and the capsule collection, which is exhibited throughout the space.
      “Louis Vuitton celebrates its latest collaboration with Yayoi Kusama in New York with a special pop-up space in the Meatpacking District which has been transformed into a canvas for her vision and iconic art which opens to the public on January 6th,” said the brand.
      The stores were decorated in polka-dots and mirrored spheresA pop-up located in Soho, New York, was similarly decorated in Kusama’s spotted motif, brush stroke spots in hues of red green, white and blue covering the white-painted storefront, interior walls, ceiling and floors.
      The collection is the second collaboration between Louis Vuitton and Kusama, returning a decade after the fashion house and artist first collaborated in 2012.

      Yayoi Kusama wraps New York Botanical Garden trees in polka dots

      In 2006, Louis Vuitton’s then creative director Marc Jacobs approached Kusama and met with her at her studio where she hand-painted a Louis Vuitton Ellipse bag with her famed polka dot motif – the beginning of what would be one of Vuitton’s most successful artist collaboration.
      Six years later, in 2012, Jacobs released a collection of Kusama-painted bags and ready-to-wear pieces to coincide with her 2012 retrospective at New York City’s Whitney Museum of Modern Art.
      A pop-up store in Tokyo included a life-like Kusama installationA pop-up space in Harajuku, Tokyo continues the yellow and black theme. The ground floor of the space was lined in yellow with black spotted motifs, while the colours were inverted for the first floor, which has a black base with yellow spots across its surface.
      Elsewhere across the world, select Louis Vuitton stores saw life-like and human-scale animatronics of Kusama placed in the window displays with the robotic replica of Kusama repeatedly painting polka-dots onto the surface of the glass.
      The pop-up spaces were used to display the limited edition collectionIn 2020, Kusama placed over 1,000 mirrored balls on the surface of a pond and wrapped trees in polka dots at the New York Botanical Garden as part of an outdoor exhibition.
      Louis Vuitton recently unveiled a collection of 200 trunks reimagined by 200 architects and designers, including Frank Gehry and Sou Fujimoto, to celebrate its founder’s 200th birthday.
      The photography is courtesy of Louis Vuitton.

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      Celine recalls “vintage spirit” at Rue Saint-Honoré boutique

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      Celine creative director Hedi Slimane channelled “French elegance” when designing the latest Celine boutique in central Paris, which features expanses of brass and marble as well as Slimane-designed furniture.

      Located on Paris’ Rue Saint-Honoré, known for its luxury shopping, the store sits within a 19th-century Haussmann building and connects to a Celine Haute Parfumerie store that was opened in 2019 and references old art deco perfumeries.
      The store was designed by Hedi SlimaneSet over two floors, the 137-square-metre store is dedicated to the brand’s leather goods, accessories and fine jewellery. Its interior was designed by Celine’s creative director, Slimane, who has helmed the fashion house since 2018.
      The Rue Saint Honoré store continues Slimane’s vision for Celine’s global store interior identity, which the brand explained recalls a vintage spirit and ideas of French elegance – much like its recently opened Bond Street store.
      It references French modernism”Conceived as a timeless setting, the architecture of the boutique gives a sense of intimacy, precisely recalling old art deco perfumers’ designs,” said Celine.

      “The ground floor, dedicated to leather goods, fine jewellery and women’s accessories, is structured around the ideas of French elegance and ‘vintage’ spirit.”
      Slimane also referenced French modernism through the choice of materials and furniture for the store.
      Brass, wood, marble and glass were used throughout the storeIn a nod to the neighbouring perfume store, whose walls were clad in sheets of imposing black and white marble, identical sheets of antique marble were used for the floors of the accessories and jewellery store.
      A jewel-like, golden brass, semi-helicoidal staircase tops the white-veined marble floor and leads visitors up to a mezzanine level and Parisian-style salon used to display artisanal bags from Celine’s Haute Maroquinerie collection.

      Hedi Slimane uses “French elegance” to define Celine store in London

      The upper level of the store is host to an antique marble fireplace, zigzagging walls of mirrored panels and wooden furniture wrapped in leather and shaggy fur designed by Slimane.
      Oxidised metal panels clad the walls of the ground floor between backlit, ribbed glass louvres, while vitrine-style shelving and cabinetry recall opulent modernist interiors.
      The store will stock accessories and jewelleryArt pieces selected from the Celine Art Project are displayed throughout the store, including a totem by Ian LC Swordy, a painting by Will Boone and a suspended glass and golden brass mobile by Virginia Overton that was personally commissioned by Slimane.
      Earlier in December, Slimane showcased his 17th collection for Celine which saw the creative director return to Los Angeles to present his Autumn Winter 2023 womenswear show at the Wiltern Theatre – an art deco landmark built in 1931.
      Following Slimane’s appointment as Celine’s creative director, he began carrying out renovations of Celine stores worldwide developing signature design codes for the brand’s store interiors.
      The photography is courtesy of Celine.

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