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      Jakob Sprenger embellishes Aesop store with salvaged plaster medallions

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      Austrian architect Jakob Sprenger has installed 1920s plaster medallions above a large sculptural sink as the centre of skincare brand Aesop’s store in Paris.

      Located within a residential neighbourhood in the district of Ternes in Paris’ 17th arrondissement, Sprenger designed the store to “create a feeling of simple domesticity”.
      The space was designed around four 19th-century painted gypsum ceiling medallions that the team found during the initial stages of the project.
      The flooring was made from reclaimed French tomette tilesThe baroque-style medallions were originally made in 1923 for the now-demolished Hotel de la Guilonniere in central Paris.
      They were placed directly above a sculptural sink that sits at the centre of the triangular store.

      “At first, we weren’t sure how to incorporate them, but their artistic quality and provenance immediately caught my attention,” Sprenger told Dezeen.
      The medallions were attached to the ceiling and one of the wallsAs is typical of most Aesop stores, the sink can be used by customers to trial and test the brand’s products.
      Above the sink, a large elliptical cut-out in the ceiling was designed as a frame for both the sink and the medallions above.
      “The triangular floorplan with a wide south-facing facade has a rather unusual geometry but allows for an impactful arrangement of functions and exciting perspectives,” explained Sprenger.

      JamesPlumb fuses bulrush and hemp elements at Cambridge Aesop store

      The design team organised the space into two “differently proportioned” sections, with the primary sales area at the front of the store and the billing and checkout nook at the back.
      Sprenger explained that the two sections were “flanked by softly rounded geometries, harmonising the visual tension of the triangular room with narrow corners”.
      Millwork and accent walls across the store were painted in burgundy-red lacquerBurgundy-toned window bays were created at either end of the space, where there is seating for customers.
      Adjacent to one of the windows is a fragrance armoire, where customers can test the brand’s perfume range.
      The checkout nook has a curved counterThe billing and checkout nook was created as an intimate space painted in burgundy red lacquer, featuring visible brush strokes.
      Candles and incense are displayed on recessed shelves on one side of the nook.
      Recessed shelves display the brand’s candles and incense rangeAccording to Sprenger, the main design challenge was amending the facade, which was added in the 1990s.
      The design team aimed to create an “inviting ambience” by adding textile awnings and lacquered paneling above a plinth clad in lutecian sandstone.
      An alabaster-coloured Aesop street sign contrasts the dark background of the facade.
      The facade features a plinth of lutecian sandstoneSprenger previously designed Aesop stores in Rome and Salzburg.
      “Our mission is to create lasting values that resonate meaningfully with their surroundings,” he explained.
      “We approach every project as a unique entity embedded in its historical, architectural and cultural context,” Sprenger said.
      Aesop stores recently featured on Dezeen include an outpost in Seoul informed by traditional Korean pavilions and another covered in mint green materials in Los Angeles.
      The photography is by Ludovic Balay.

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      Halleroed contrasts colour and texture inside Boygar’s Tbilisi store

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      Design studio Halleroed has combined rustic, earthy tones with bold colours and glossy finishes for online retailer Boygar’s first store in Tbilisi, Georgia.

      Set across three floors in a historic building on Tbilisi’s Rustaveli Avenue, Halleroed worked within the framework of the building’s existing features when designing the store.
      Halleroed has designed a three-storey retail space for Boygar’s in TbilisiCharacterised by a series of tall arched doorways and openings, the ground floor space features circular bronze-toned chandeliers, decorative wall and ceiling elements and Versailles parquet flooring.
      To preserve the existing ceiling details, chandeliers designed by Cristian Miola were hung with minimal intervention.
      Bronze ring-shaped chandeliers hang from the ceiling on the ground floor”The inspiration for the chandeliers was from the Greek Orthodox Georgian churches that we visited during our stay in Tbilisi,” Halleroed told Dezeen.

      To create a striking visual contrast against the more neutral tones and materials, Halleroed added a velvet green sofa and a matching curved green screen with a high-gloss finish.
      “For the ground floor and first floor, we had a decorative, old, existing environment which we wanted to be the backdrop to the new additions,” Halleroed explained.
      A high-gloss green screen divides the ground floor spaceHalleroed also incorporated half-height curved partition walls that weave through the ground floor space. These have integrated mirrors, as well as floating shelves to display Boygar’s products.
      “The walls and ceiling of the existing building have a darker beige tone while the new, lower, curved walls are in a textured bright wallpaper to create a contrast between old and new,” said Halleroed.
      Burgandy, ochre, green and black contribute to the colour palette on the first floorA marble staircase leads up to the first floor, where the material and colour palette echo that of the ground floor.
      “The colours and fixtures are from a more earthy, in our eyes, Georgian palette with burgundy, ochre, green and black accents,” said Halleroed.
      Halleroed juxtaposed elements including oak window and door frames with a burgundy lacquered side table and a curved glossy black screen.
      Seating units by Gaetano Pesco add colour to the lower-ground floor spaceThe store’s lower level is a “more contemporary area”, according to Halleroed.
      Here, modular seating by Italian designer Gaetano Pesce stands out in bright pops of solid colour against the neutral palette used for the walls and carpet.

      Halleroed mixes French and Japandi influences inside L/Uniform’s Paris boutique

      “Downstairs we used a more modern approach since the space didn’t contain any decorative elements,” Halleroed explained.
      Work by contemporary Georgian artists including Ketuta Alexi-Meskhishvili and Shota Aptsiauri line the walls.
      Tubular lighting contained inside circular niches illuminates the spaceGarments presented on mannequins and minimal clothes rails are illuminated by tubular lighting contained in circular niches in the ceiling.
      “Tubular lighting is very typical for art galleries and we wanted that feeling downstairs but in a more interesting, spatial way,” said Halleroed.
      A coral-coloured shoe display area takes cues from paintings by Georgian artist PirosmaniA bright red archway frames a women’s shoe display area, with the same gloss finish used elsewhere.
      “The strong coral red colour was inspired by the famous Georgian artist Pirosmani’s paintings,” Halleroed explained.
      A local Georgian marble features in the bathroomsIn the bathrooms, a green-hued local Georgian marble was used, which matches the building’s facade.
      “We always try to work with local materials where possible,” Halleroed said. “We played with the stone and illuminated ceiling to create a visually intense, almost scenographical effect.”
      Other store interior projects recently published on Dezeen include a flagship store for fashion brand Totome in London and a boutique in Paris for French bag brand L/Unifirm.
      Photography is by Ludovic Balay.

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      Sabine Marcelis creates colour-blocked scenography for VitraHaus loft

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      A mint-green lounge pit and custard-yellow home office are among several colourful set pieces installed by designer Sabine Marcelis on the top floor of Vitra’s Herzog & de Meuron-designed flagship store in Weil am Rhein, Germany.

      Marcelis, who is known for her work exploring colour, translucency and reflection, was invited to create a series of domestic scenes within the VitraHaus loft that feature some of the furniture company’s most iconic products.
      The scenography immerses visitors in a world of colour, with the various spaces providing a vision of domestic life that aims to be both practical and imaginative.
      Sabine Marcelis has transformed the VitraHaus loft showroom in Germany”The philosophy behind the design closely mirrors how we created our family home,” said Marcelis, who organised Vitra Design Museum’s archive into a colour-coordinated exhibition called Colour Rush in 2022.
      “It features a large open space divided into functional zones, delineated by colour. We then blended my creations with those of other designers, artists and, of course, Vitra furniture to create a cohesive whole.”

      A series of domestic scenes showcases colour-blocked furnitureMarcelis worked closely with Vitra to transform the loft of the flagship store on the Vitra Campus, also home to Zaha Hadid’s dynamic Fire Station and Frank Gehry’s swirling museum building.
      The loft, with its gabled openings framing views of the surrounding countryside, has a domestic scale that is accentuated through the choice of furnishings and the layering of colour and materials.
      Marcelis is known for her experiments with translucency”The VitraHaus loft is the perfect canvas to display the diversity of Vitra furniture,” said Till Weber, the company’s creative director of interiors and scenography. “It provides a collage where we can mix and match furniture for the characters that live within it.”
      “The tones and hues Sabine has used are recognisable from the natural, organic world and they have a rich interaction with the various spaces – things are connected but do not all perfectly match,” he continued.
      Limited edition food-inspired colours of the Panton Chair are displayed throughoutVisitors arriving via a lift enter a cool-green living area featuring a large lounge pit created using Jasper Morrison’s Soft Modular Sofa. The sofa is complemented by a green rug and Marcelis’s floor-standing Curve Light.
      “The original sofa system is generally used to create L shapes and we’ve just merged it all to form this enveloping pit,” the designer said.
      “I think it’s so important to have a good lounge. It can be really fun – I have a lounge pit at home as well and it’s the core of the house. It’s so good to just jump in there.”
      Reflective surfaces are another hallmark of Marcelis’s workThe lounge space is one of seven distinct areas, each designed to celebrate a different colour. These include a soft-pink bathroom with a custom onyx tub, sink and vanity.
      Other zones include a small seating area with caramel-coloured carpeting that matches the leather upholstery on a pair of George Nelson’s Coconut Chairs, as well as a minimalist kitchen with shelving and stools in a plum hue.
      A custard-yellow home office is also among the colour-blocked set pieces”The colours used in the VitraHaus Loft are personal favourites,” Marcelis said.
      “I like these colours and never tire of them, which makes them timeless for me. I think this attitude is important for anyone creating their own home.”
      The bathroom features a soft-pink onyx tub and vanity unitIncorporated within the scenography are iconic pieces from Vitra’s archive including two of Verner Panton’s midcentury furniture designs, which Marcelis has updated in seven new colours.
      The limited edition versions of the Panton Chair Classic and the Visiona Stool are produced in food-inspired hues including bubble gum, butter, honeydew and plum that match the colour scheme used in the VitraHaus Loft.
      Along with upholstery in the seven new colours, Marcelis specified different types of finishes for the cylindrical Visiona pouf, including faux fur and untreated leather.
      Also on show are Marcelis’s own designs including the Candy Cube side tableThe designer also selected artworks by friends and collaborators that help to create a homely feel throughout the spaces.
      Pieces by Maria Pratts, Johnny Mae Hauser and Carolijn Jacobs feature alongside printed bedsheets by Ehsan Morshed, which were created for the VitraHaus Loft and are available to purchase at the VitraHaus.
      Caramel-coloured carpeting matches Coconut Chairs in one seating areaMarcelis has worked on numerous projects in recent years that display her innovative take on colour and materiality.
      Most recently, she created colourful plinths for the match balls of the Euro 2024 football tournament and designed a conceptual version of the Renault Twingo car featuring a semi-transparent exterior and raspberry-coloured interior.
      The photography is by Clemens Poloczek.

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      Studio Lotus wraps stone lattices around museum-cum-jewellery store in Jaipur

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      New Delhi practice Studio Lotus has used stone lattices and frescoes depicting regional architecture to embellish the Museum of Meenakari Heritage and Sunita Shekhawat jewellery store in India.

      Designed as the flagship store for Sunita Shekhawat’s eponymous jewellery brand in Jaipur, the building contains a museum focused on the craft of Meenakari on its ground floor.
      Studio Lotus designed the museum-cum-store for the brandAccording to Studio Lotus, it aimed to “foster an environment where the act of purchasing jewellery is not the primary goal”, but instead becomes a “natural conclusion of a transformative experience”.
      “The underlying emotion behind the Meenakari museum – the first of its kind – becomes the client’s way of paying homage to the city that has given her so much, while also establishing a novel paradigm in luxury retail design,” the team explained.
      Multiple historic influences shape the design language of the buildingWorking within the structure of a partially complete building on the site, Studio Lotus created bevelled balconies to produce a form that “intricately layers patterns and details and draw from different periods, woven together into one cohesive image”.

      The details and lattices take cues from historic influences such as Rajputana, Mughal, and Art Deco – as a nod to the city’s architecture and Shekhawat’s approach to jewellery design.
      The store was place in on the lower ground floorShekhawat uses Meenakari, or the art of enamelling metal, as the foundation of her jewellery work.
      To reflect this, Studio Lotus convinced Shekhawat to create a museum or “storytelling space” that presents the history of Meenakari craftsmanship on the ground floor, in a space that was originally earmarked for the store.

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      “We seized this challenge as an opportunity to create a narrative gallery,” Studio Lotus founder Ambrish Arora told Dezeen.
      “In collaboration with Usha Balakrishnan and Siddhartha Das Studio, we were able to create or, rather, open up the world of enamelling from different perspectives for the visitor.”
      The semi-vaulted ceilings feature frescoesThe store was placed below, on the lower ground floor, with a gallery space clad in an off-white araish lime stucco surrounded by private pods designed for one-on-one client interactions.
      Arora explained that the wide floorplate and tall ceilings of the lower ground floor “lends itself well to the exclusive, by-appointment-only, bespoke nature of the business, and of the product too — the lack of natural light being conducive to the controlled lighting necessary for jewellery display”.
      A curved staircase leads to the storeThe semi-vaulted ceilings of the pods are adorned with frescoes by artists specialising in miniature paintings, which depict the region’s architecture, flora and fauna.
      The practice commissioned CraftCanvas, a collective of artisan communities in India, to develop the frescoes. The scale and curved profile of the ceilings proved to be a challenge for the artists.
      “It took repeated trial and error and a commitment, collaboratively, to reach a certain benchmark,” said Arora..
      Individual rooms were designed for client meetingsAll of the floors within the building are connected by sculptural staircase at the centre of the building.
      Shekhawat’s office and design studio are located on the first floor, while a restaurant and bar is planned for the top floor, which has views across the city.
      This floor was wrapped in glazing and shaded by stone lattices, which was designed to “respond to the inward-looking program on the lower floors”.

      Folded stone lattices filter sunlight into the upper space that is planned as a restaurantThe exterior of the building was clad in Jodhpur red sandstone, paying homage to Shekhawat’s hometown and in line with the colour scheme of Jaipur’s – or the Pink City’s – buildings.
      According to the practice, it aimed to engage with local craftspeople throughout the construction process – from crafting the furniture inside the space to cladding the facade.
      Jodhpur red sandstone hand-carved by indigenous craftspeople features on the facadeStudio Lotus was founded in 2002 by Arora, Ankur Choksi and Sidhartha Talwar. The studio works on a wide range of cultural, residential, commercial and mixed-use projects – including a government building in India clad in intricate brickwork.
      Other Indian architecture projects recently published on Dezeen include a home in Hyderabad topped with a lantern-like roof and a set of six holiday homes in Goa defined by peach-toned walls and arched openings.
      The photography is by Ishita Sitwala

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      Mexico City boutique by MYT+GLVDK features double-conical staircase

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      Mexico City studio MYT+GLVDK has designed a concept store in the south of the Mexican capital, featuring a staircase with both concave and convex portions beneath a vaulted ceiling.

      Uncommon Ground is a high-end fashion and accessories boutique situated in the Artz Pedregal shopping mall, close to the city’s southern periphery.
      The Uncommon Ground boutique is divided into a main floor and a mezzanine level at the backMYT+GLVDK, led by Andrés Mier y Terán and Regina Galvanduque, was commissioned to design the architecture, furnishings and interiors for the store that carries brands including Courrèges, Maison Kitsuné, Ami Paris, Officine Générale and Moscot.
      “The hallmark of Uncommon Ground is to display the latest tendencies in clothing and accessories based on a dedicated edition of trends and themes that capture the air du temps of the season,” said Mier y Terán and Galvanduque.
      The two levels are connected by a double-conical staircaseThe duo decided to create multiple display areas across the 246-square-metre main floor and a 40-square-metre mezzanine at the back.

      These two levels are connected by a circular staircase with concentric treads that splay outward in a semi-circle on its lower half and are set inward like an amphitheatre on the top half.
      A vaulted ceiling comprising tubes wrapped in recycled cowhide arches over the spaceBeneath the mezzanine, the conical form of the upper steps is expressed as bands of brushed brass, which are reflected in golden mirrored panels across the adjoining wall and low ceiling.
      More semi-circular steps below form a display for shoes within this back room, where other garments are hung in niches on either side.
      Beneath the mezzanine, the staircase is expressed as a series of brushed-brass bands above a stepped shoe displayThe main floor, where the ceiling is double-height, is covered by a vaulted ceiling made up of ribbed elements wrapped in recycled cowhide.
      In the centre of the space, a structural column and diagonal beam are incorporated “a focal point that continues with the rhythm of geometric shapes and lends character to the overall concept” according to the designers.

      MYT+GLVDK completes eclectic food court Cocina Abierta in Mexico City

      A colour scheme of yellow, beige and terracotta is applied across the architectural elements and the furniture, which is also designed in cylindrical and arc shapes.
      “The use of clean lines, tubular segments and curves can be seen in every direction as an organic sequence of impressive visual strength,” said MYT+GLVDK.
      Furniture throughout the store is designed in cylindrical and arc shapesThe lighting scheme includes a series of light boxes placed within display niches on both levels, to highlight the products, as well as track and spotlights that give the entire store a warm glow.
      The Uncommon Ground logo is illuminated vertically on the central column and horizontally above the fully glazed storefront.
      The boutique is located inside the Artz Pedregal shopping mall in the south of Mexico CityAlso in Artz Pedregal, MYT+GLVDK previously designed the Cocina Abierta food court that takes cues from Japanese and Mexican design traditions.
      Elsewhere in the city, the studio recently completed the interiors of fast-casual restaurant Órale Milanga, where exposed concrete walls are covered in wavy green metal mesh.
      The photography is by Alfonso de Béjar.

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      Gubi opens first UK showroom in London townhouse takeover

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      A Georgian townhouse filled with period details is now Gubi House London, the first dedicated showroom that the furniture brand has opened outside Denmark.

      Gubi partnered with Danish surface design studio File Under Pop to reimagine the listed building as a showspace for its collection, which includes furniture by designers such as GamFratesi and Space Copenhagen.
      Gubi House London occupies a listed Georgian townhouseA curated colour palette combines with material finishes including Spanish clay tiles and Italian lava stone to create four floors of rooms with a contemporary feel.
      “To be in a townhouse is a unique opportunity,” explained Marie Kristine Schmidt, chief brand officer for Gubi.
      Furniture is on display across four different floors”We could create something very domestic in feel. We have smaller rooms where we can create different experiences and we can tell different stories on each floor,” she told Dezeen.

      The showroom is located on Charterhouse Square, a garden square framed by cobbled streets, and will be open by appointment.
      Danish surface design studio File Under Pop oversaw the colour and material paletteGubi was founded in 1967 by furniture designers Lisbeth and Gubi Olsen, who later handed it down to their sons, Jacob and Sebastian Gubi Olsen. Jacob is still a shareholder and a member of the board.
      The London expansion was first mooted in 2020, not long after the once family-owned company was acquired by Nordic private equity group Axcel and the Augustinus Foundation.
      Furniture on show includes the Croissant Sofa designed by Ilum Wikkelsø in 1962Schmidt said the UK is a key market for the brand as it looks to expand its intentional profile.
      “London is a melting pot right now, particularly in the hotel and restaurant scene, so for us, it is a really important city to be in,” she said during a tour of the building.
      “I think there is a lot of untapped potential for us here.”
      A ground-floor dining room features hand-painted forest-green wallpaperEach floor of Gubi House London has its own character, drawing on different influences reflected in the materials and fabrics that feature in across the product collection.
      The ground floor, described as “boutique chic”, features a trio of spaces designed to emulate the sense of comfort and luxury of a boutique hotel.
      Also on the ground floor, a blue fireplace sits behind the Moon dining tableKey details include a fireplace colour-blocked in a deep inky shade of blue, which serves as a backdrop to the brand’s Moon dining table and Bat dining chairs.
      Also on display here are several reissued 20th-century lamps, including designs by Finnish designer Paavo Tynell, Danish architect Louis Weisdorf and Swedish designer Greta M Grossman.
      The first-floor rooms take cues from the 1970sTowards the rear, a room with hand-painted forest-green wallpaper serves as a dining space.
      The first floor takes cues from the 1970s, with an earthy colour palette.

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      Key pieces here include the Pacha lounge chair, a 1975 design by the late French designer Pierre Paulin, upholstered in a striped fabric and a cascading arrangement of the Semi Pendant lamps, designed in 1968 by Danish design duo Claus Bonderup and Torsten Thorup.
      This floor also includes a bar, which serves as a centrepiece in the smaller of the two rooms.
      The second floor was envisioned as a co-working environmentThe second floor was envisioned as a co-working environment, with furniture that emulates a contemporary bistro, while the uppermost level offers a more bohemian feel.
      “We wanted to create a space that is inspiring,” said Schmidt. “It wouldn’t be right for our brand to go into a commercial space.”
      Gubi House London is located at 12 Charterhouse SquareThe experience is different from the warehouse feel of Gubi’s Copenhagen headquarters, which occupies a former tobacco factory in the waterside Nordhavn area.
      “This is how we see Gubi in the context of the UK,” added Schmidt.
      “It was fun to play with a building that is so pleasant and give it a very fresh, modern, contemporary look.”
      In Copenhagen, Danish brand &Tradition took over a townhouse during design festival 3 Days of Design, while fellow Danish brand Hay unveiled its renovated Copenhagen townhouse in 2021.
      The photography is by Michael Sinclair.

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      In Common With opens Quarters showroom and hospitality venue in Tribeca

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      New York lighting brand In Common With has opened a multi-functional space in a 19th-century Tribeca loft in time for NYCxDesign, and will host a shoppable experience and a variety of events during the festival and beyond.

      In Common With founders Felicia Hung and Nick Ozemba renovated the 8,000-square-foot (473-square-metre) space on the second floor of a historic building on Broadway as a venue to host events and showcase installations and collections both by themselves and others.
      Designed with a residential feel, the Quarters venue includes a wine bar for hosting events”A marriage of warmth and grandeur, whimsy and irreverence, Quarters is both a concept store and community gathering space,” said the duo.
      “Inspired by Tribeca’s rich artistic history – and by the participatory spirit of 1960s ad hoc art spaces – Quarters shifts between the expected and the altogether disarming, a curated space and one that’s improvisational and alive.”
      Quarters is divided into multiple interconnected spaces, including one styled as a living roomDesigned and styled to have a residential feel, the venue unfolds through various interconnected rooms, including a bar, lounge, library and great room.

      Each features richly hued decor and is populated with artful vintage and contemporary designs, the majority of which are shoppable.
      The majority of the design products on show are available to buyThere’s also bedrooms, a kitchen, a dining room, and powder rooms that feature dramatic marble sinks and are lined with handmade tiles.
      Other highlights include large tapestries hung on the walls, built-in burl wood storage that matches a counter base in a foyer, and the bar area that’s framed with a fresco by artist Claudio Bonuglia.
      The furniture, lighting and artwork presented in the space – by In Common With and many of their collaborators – will change frequently”Quarters is more than a retail concept; it’s a platform for showcasing our unique view on domesticity and hospitality and sharing our creative vision with a broader audience,” said Ozemba.
      “It represents our imagination, values, and ambitions in a tangible form, and it’s an open invitation for others to find inspiration within our world.”
      In Common With’s lighting collections including Flora, designed by Sophie Lou Jacobsen, are dispersed throughoutSince starting In Common With six years ago, Hung and Ozemba have collaborated on lighting collections with designers including Sophie Lou Jacobsen, Danny Kaplan and Simone Bodmer-Turner.
      All of these are represented throughout the different rooms, in pendant, floor, table and chandelier variations and multiple colourways.
      The various spaces, including bedrooms, a kitchen and a dining room, are all decorated with a mix of vintage and contemporary furnitureThe launch of Quarters also coincides with In Common With’s debut collection of wooden furniture, which features hand-painted trompe l’oeil surfaces and customisable inlaid ceramics created with artist Shane Gabier.
      Other new pieces on view include glass lighting and objects with hand-cut graphic patterns, and a three-piece series of hand-embroidered fabric lighting fixtures.

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      Hung and Ozemba plan to use the space as a platform for their fellow designers and artists, as well as their own work, and to entertain their peers with wine evenings and dinners.
      The displays will be updated to present new projects and collections, and to reflect In Common With’s fluid approach to collaborative design.
      Highlights include a marble counter with a burl wood base in a foyer area”By welcoming others and fostering our artistic community, [Quarters] will continue to evolve in new and exciting ways,” said Hung.
      “With each new perspective and collaboration, Quarters will transform again and again, pushing the boundaries of design, expression, and creative connection.”
      Bathrooms and powder rooms feature handmade tilesQuarters launched just in time for NYCxDesign, New York’s annual design festival, and is hosting a variety of events over the course of the month. Check out Dezeen’s NYCxDesign highlights and all of the events we’re hosting.
      In Common With previously opened a studio, showroom and production facility inside a Brooklyn warehouse in 2022.
      The photography is by William Jess Laird.

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      Red staircase anchors Diesel store in Miami Design District

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      Fashion brand Diesel has debuted a retail design concept at its store in the Miami Design District, featuring raw metal surfaces and a red lacquered spiral staircase.

      Designed under the creative direction of Glenn Martens, who joined the brand in 2020, the industrial-style store is intended to reflect “the brand’s signature bold attitude”.
      Diesel’s new store in Miami Design District debuts an industrial-style retail concept”Envisioned as a fresh, powerful expression of Diesel’s design edge and identity, the store is anchored by a glass facade framed in signature Diesel red with the brand’s red-and-white Biscotto logo,” said the design team.
      Red was also applied selectively to interior elements, including a statement spiral staircase and a wall behind at the back of the store.
      The store’s focal point is a red lacquered-metal spiral staircaseThe helical lacquered-metal form has solid balustrades and steps with a diamond-plate texture for added grip.

      It leads up to a second level where another red wall with floating shelves is used for product displays.
      The staircase has solid balustrades and steps with diamond-plate texture for added gripAcross the two floors, the 1,900-square-foot (177-square-metre) store presents the full Diesel collection.
      Bags, shoes, accessories and fragrances are presented on the lower level, while areas dedicated to denim, ready-to-wear apparel and footwear can be found upstairs.
      The upper level also has a red display wall that stands out against the concrete and metallic surfacesExposed concrete floors and ceilings, and walls covered in riveted raw metal panels and mirrors create a monochromatic backdrop that allows the red elements to stand out.
      “Throughout the space, minimalist red leather couches and streamlined silver fixtures create a strong sense of structure with a touch of softness,” said the team.

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      Vitrines for displaying accessories on the ground floor sit atop crinkled metal bases, though the sales counter opposite is flat and sleek.
      Both levels have floor-to-ceiling glass across the street facade, and at night, fluorescent lighting throughout the store gives off a harsh white glow.
      The ground floor features vitrines atop crinkled metal basesFollowing the Miami store unveiling, the interior concept will be rolled out to global Diesel locations.
      The brand was founded in 1978 by Italian entrepreneur Renzo Rosso, who still serves as its president.
      The Diesel store joins many luxury fashion brands in Miami Design DistrictMiami Design District is home to the stores of many luxury fashion labels, each of which has exterior and interior treatments designed to reflect its distinct brand identity.
      Other examples include Louis Vuitton’s menswear space, which Dutch studio Marcel Wanders wrapped in a patterned facade informed by the brand’s monogram, and a Christian Louboutin boutique that’s covered in tree bark.
      The photography is courtesy of Diesel.

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