Samsung’s flagship experience store in New York City, which has been captured in this exclusive video produced by Dezeen, has been designed to enable visitors to envision living in a smart home.
Located in Manhattan’s Meatpacking District, the Samsung 837 store is described by the brand as an “interactive playground” and allows visitors to interact with Samsung’s latest connected home devices.
Located on the second floor, the SmartThings Home section allows visitors to test its connected products in a simulated smart home environment.
The section features a connected kitchen where products, such as Samsung’s Bespoke Refrigerator, are on display, allowing users to test its touchscreen capabilities.
The SmartThings Home on the second floor allows visitors to test Samsung’s latest smart products
The store also features a gaming lounge in which visitors can use consoles to play games in real-time.
Additionally, the SmartThings Home section includes a children’s bedroom, which features a projector where visitors can experience watching movies in bed.
The children’s concept bedroom features a projector to watch films
Samsung customers can download its SmartThings app to connect and monitor all of their smart home devices in one place. Users can monitor their energy consumption in a bid to reduce their energy bills using the SmartThings Energy activation within the app.
Also exhibited in the space is Samsung’s Bespoke service, which allows visitors to customise Samsung products to suit their individual style, including custom colour combinations and finishes.
Samsung’s bespoke refrigerators can be customised to fit a user’s individual style
Samsung uses the flagship experience store to host a variety of talks and events throughout the year. Recently, Dezeen partnered with Samsung to host a live panel discussion in the flagship store, exploring the topics of technology and sustainability.
The talk was moderated by Dezeen’s US editor Ben Dreith and featured a panel including Barent Roth, Matthew Spencer and Claudia Santos, who discussed how connected homes can enable more sustainable lifestyles.
Partnership content
This article was written by Dezeen for Samsung as part of a partnership. Find out more about Dezeen partnership content here.
Spotted: As coal mining winds down, innovators are coming up with some novel ways to repurpose disused mines. One of these is Australian startup Green Gravity, which is using vertical ventilation shafts in decommissioned coal mines to store clean energy.
Green Gravity stores energy using the principles of gravity and kinetic energy. Ultra-heavy weights, made from 30 tonnes of steel coil, are lifted and then lowered in the shafts. As the weights are lowered, the cable holding them passes through a device called a ‘winder’, which is used to turn a motor, generating energy. The weights are lifted using excess renewable energy, then remain at the top of the shaft, holding potential energy, until demand rises, when they are lowered to generate energy to meet that demand.
While gravity energy storage is not new, Green Gravity aims to save money and resources by using old mine shafts, rather than purpose-built towers. This makes the company’s technology lower cost than similar options. In addition, because it is installed using existing equipment and sites, it uses fewer resources and is thus more environmentally friendly.
In September 2022, the company announced a partnership with leading Australian artificial intelligence (AI) and automation company xAmplify. Under the partnership, Green Gravity will use xAmplify’s AI to enable digital simulation, data processing, deep learning, and automated operations. In the words of Green Gravity CEO Mark Swinnerton, “Deploying advanced AI platforms will accelerate the rollout of Green Gravity energy storage, bring down the cost of renewable energy, and reduce carbon emissions from the electricity grid.”
Springwise has previously spotted energy storage systems such as a hi-tech fluid that makes pumped hydro storage more affordable, underground storage for hydrogen, and the world’s first large-scale sand battery.
Skincare brand Aesop has collaborated with designer Samuso Hyojadong to create a store in Seochon, Seoul, that features an open facade and an oversized stone plinth.
Positioned in one of the oldest neighbourhoods of Seoul’s Jongno-gu district, the Seochon outlet was created to “fit harmoniously within its local context”, according to Aesop’s design team.
Aesop designed the Seochon store with Samuso Hyojadong
When designing the store, Aesop and Hyojadong took cues from the architecture of jeongjas – traditional Korean pavilions with no walls, which serve as spaces for resting and taking in the surrounding views.
The street-facing facade was created with mesh metal screens that can open out entirely to create a storefront with no walls. Once closed, the woven metal backing creates translucent windows through which passersby observe the softly lit silhouettes of uniform rows of bottles.
Reclaimed timber features on the interior
“Samuso extended the floorplate outwards to create a threshold that conveys a generous sense of hospitality,” the Aesop design team told Dezeen.
“One [jeongja] in particular that inspired us was the Soswaewon in the Damyang region, which was built in the sixteenth century and is surrounded by a verdant garden.”
An oversized stone plinth displays Aesop products
For the store’s material palette, the designers referenced the timber and stone that are typically used to build traditional Korean houses known as hanoks.
A large, rough-edged stone plinth displaying clusters of products was positioned at the entrance while various wooden accents were created with timber reclaimed from salvage yards and an abandoned house.
Copper was used to create geometric cabinets
The store was also built on a raised stone platform, which nods to the traditional architecture.
Hanji paper created from mulberry tree bark sourced from South Korea’s Gyeongnam province features on the store’s walls, which frame central geometric cabinetry and sleek taps made of locally produced aged copper.
The designers were restrained in their use of sanding, sealants and coatings when treating the materials, opting to embrace their “natural imperfections”.
“Sensitivity to texture in this store is superlative,” reflected the design team. “Samuso wanted each material to express itself directly, without too much human intervention,” it continued, referencing the roughness of the stone and the reclaimed timber’s undulating texture.
The metal was also used to design sleek taps
Rosewood was used to create the store’s signature fragrance armoire, which is hidden from view until opened out and was conceived as a traditional Korean jewellery box, according to the design team.
“Throughout the store, we were compelled by a desire to dissolve the boundaries between inside and outside, between the naturally occurring and the human-made,” concluded the designers.
The store’s signature fragrance armoire was informed by Korean jewellery boxes
Known for stores that pay homage to their varied locations, Aesop has an outlet in Cambridge defined by handwoven bulrush shelves that nod to the nearby River Cam and a Sydney store furnished with domestic items to evoke 1960s Australian homes.
COS architectural creative lead Marcus Cole explains how more sustainable design principles were used in its recently opened concept stores, in this exclusive video produced by Dezeen for the brand.
The brand recently opened two stores, located in Stockholm and Mexico City, which according to COS exemplify its commitment to sustainable building and circular design. Cole talked to Dezeen about the brand’s approach when creating the new retail spaces.
“This flagship store in Stockholm is the first in Europe to adopt the most sustainable store concept from COS to date,” he said.
The Stockholm flagship store reflects the brand’s promise to lower CO2 emissions. Photograph by Åke Lindman
At 566 metres square and spread over two floors, the store, located on Biblioteksgatan, is also the brand’s largest concept store.
When creating the space, COS wanted to address their existing waste flows, finding ways in which byproducts that would traditionally be categorised as waste could be reused and repurposed.
“The design focuses on circularity in both our material selection and our design strategy,” explained Cole.
“The floor throughout our sales area is a terrazzo tile that has been made from 90 per cent quarry waste from our own suppliers’ production line. The majority of the rugs are a collaboration using waste yarn from our suppliers’ chain, each bespoke in their own way.”
“We prioritised materials that can be easily repaired, and are designed for disassembly by avoiding mixing materials that are hard to decouple later down the line,” Cole added.
The Stockholm store uses 66 per cent more recycled materials than the original store design. Photograph by Åke Lindman
The brand also took the same approach when creating the furniture and fixtures used in the store, choosing to prioritise more sustainable and recycled materials.
“Our vitrines and wardrobes are made from a combination of recycled acrylic and bamboo,” said Cole.
“Bamboo is a more renewable choice than traditional hardwoods, because of the speed at which it grows, its carbon storage capacity, and also its durability,” he continued.
“If we look to our fitting rooms and some of the softer fixtures in our stores, the panels are made from 60 per cent recycled plastic bottles that have been spun into felt, [and] the floor consists of a PVC free linoleum, which is made from a mixture of recycled and natural materials.”
Sustainable and recycled materials were prioritised during the design process. Photograph by Åke Lindman
Other changes include 30 per cent recycled aluminium rails, 100 per cent recycled mannequins and the removal of all concrete fittings.
The brand also found it important to make use of the existing building where possible to reduce unnecessary CO2 emissions and to give new life to unused materials.
“This concept store is actually a rebuild of an existing store,” Cole explained. “We were able to reallocate and reuse 50 per cent of our interior elsewhere in our portfolio, making sure we have as much emphasis on what we’re taking out of the store as what we’re putting in it as well.”
A selection of paintings and sculptures by visual artist Liselotte Watkins decorate the store interior. Photograph by Åke Lindman
Following on from the Stockholm store, the brand also unveiled another sustainable concept store in Mexico City. The store is located in the Polanco neighbourhood, and the interior references Mexico’s artisan craft traditions.
In addition to operating as a fashion store, the shop also exhibits artworks by local creators, such as Caralarga, a female-led enterprise which focuses on sustainability and female empowerment.
The Mexico City store is the first in the Americas to embrace COS’s sustainable store concept. Photograph by Fernando Marroquin
“We have very ambitious plans to bring this sustainable approach and all of our learnings from it to more stores in the future,” Cole said.
“The stores that have adopted our new concept now have an average of 68 per cent recycled materials. And this is a percentage that we’re both really proud of because of how far we’ve come, but also challenged by because of where we want to get to,” he continued.
“Whether it’s a flagship store or a smaller activation, we worked hard to embed agility into the core of our interiors so that we’re not wasteful in the future.”
COS is a London-based fashion brand. The brand has 252 stores, spanning 47 physical markets.
Partnership content
This video is produced by Dezeen for COS as part of a partnership. Find out more about Dezeen’s partnership content here.
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 Street
The 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 ceiling
Ceiling 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.
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 colour
Display 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 throughout
In 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.
Slight variations in tone and texture differentiate surfaces inside the PJ Lobster glasses store in Barcelona, which Spanish interiors studio El Departamento has finished entirely in green.
The shop in the El Born district features walls, floors and stuccoed ceilings all covered in soft, tranquil tones of seafoam green, creating an immersive experience designed to challenge the eye.
The PJ Lobster store in Barcelona is finished entirely in green
“The human eye is able to distinguish more different shades of green than any other colour,” El Departamento told Dezeen. “That’s because, deep inside us, we’re still hunters from the prehistoric era.”
“So that’s what we wanted to aim for here, not to hunt anything but to recover the challenging visual exercise of exploring a wide range of greens.”
A glossy counter stands at the centre of the shop
The practice was also influenced by Charles and Ray Eames’s short film Powers of Ten, which explores the scales of the universe.
This informed El Departamento’s study of different textures within the store “from macro to micro”, from the small-grained velvety micro-cement on the floor to the rough textured plaster that was applied to the wall by hand to achieve the right level of thickness.
“We wanted to get to the last step, just before a texture becomes a topography,” the studio said. “It was done manually, carefully and step by step to achieve the perfect state.”
The examination room is located at the rear of the store
Stainless steel is another key player in the store, used to create banks of display shelving that frame each pair of glasses, with the soft sheen of the metal creating a striking contrast with the deliberately blobby texture of the walls behind.
Another textural juxtaposition is provided by the large, capsule-like counter at the heart of the store with its high-shine gloss finish and mirrored top.
Further back in the store is an area dedicated to visual examinations, delineated by a shiny pleather curtain and a softer carpeted floor.
The result, according to El Departamento, is “a vibrant space that swings between the soft and the hard, the rough and the velvety”.
Glasses are displayed on stainless steel shelves
The studio has been collaborating with PJ Lobster since the eyewear brand was founded in 2018 under the name Project Lobster, helping the company to expand from an online business into real-life stores.
With this latest outpost, El Departamento wanted to encapsulate the evolution of the brand and its products.
The examination room is hidden behind a shiny pleather curtain
“We wanted to show that the brand has matured,” the studio said. “We tried to show somehow the organic evolution of the brand by giving this space a more technical and precise atmosphere, where the wide range of textures speaks of the precision levels of the products.”
Other monochrome eyewear stores include Lunettes Selection in Berlin, which is enveloped by mint-green floor-to-ceiling cabinets, and Melbourne’s Vision Studio where cool-toned industrial materials such as aluminium and concrete are paired with grey marble surfaces.
Raw finishes and brutalist interventions feature in footwear brand Veja‘s first dedicated shop in Madrid, complete with an in-house shoe repair workshop and interiors designed by local firm Plantea Estudio.
The retail space is housed in a building in the centre of Madrid, which has functioned as a shop, a restaurant and a bank office since its construction around the turn of the 20th century.
Plantea Estudio has completed Veja’s Madrid store
By the time Veja took on the space, it had been stripped back to a shell and the team at Plantea Estudio immediately saw the potential in the raw, rough interior.
“That kind of brick structure brings you to the origins of architecture, to a temporal language,” the studio said. “It comes from always and goes forever, it will never be out of time or fashion.”
“For us, there was no better option than to work from there, to leave it exposed.”
Monolithic concrete blocks serve as displays
The decision to work with the existing architecture rather than introducing unnecessary new materials also mirrors Veja’s idea of having in-house repair shop, encouraging customers to fix rather than simply replace their run-down trainers.
However, the shell required much more active intervention from Plantea Estudio than the store’s unfinished interior suggests.
The shop also houses a repair workshop
“We had to work a lot for it to look like we didn’t do anything,” the studio said. “We brought the structure to its best version.”
Plantea Estudio made the windows taller and brought the internal openings back up to their original height. The internal walls were cleaned up, exposing more of the brick and removing countless additions and coverings that remained from previous fitouts.
Graphic strip lights are integrated into the ceiling
Where the materials were low-quality and couldn’t be removed, Plantea Estudio spray-coated the walls in a mix of plaster and Perlite mortar, “which accentuates the irregularity of the base”.
The floor was coated uniformly with cement mortar, creating a continuous surface throughout the interior while providing a contrast with the chunky cobblestones laid in the entrance hall.
The building’s functional pipes and pinewood supports were left exposed while the ceilings are clad in roughly textured sound insulation and embedded with graphic rows of strip lighting.
To form display areas, benches and counters, Plantea Estudio opted for stepped blocks of concrete – a favourite material of the brutalist movement – cast in situ using moulds made from old wooden boards.
Vintage Joaquim Belsa armchairs were used to furnish the space
As a clear contrast to the heavy solidity of these pieces, the store’s shelving is made of folded sheets of white-lacquered steel.
“The main collection is displayed on these steel shelves, illuminated by a light that’s brighter than the general light in the store,” the studio said.
A ficus tree stands near the entrance
The space is accentuated by large-format mirrors, applied to the building’s brick pillars, where Plantea Estudio says they work at “multiplying the cross views”.
A large ficus tree marks the entrance while furniture was sourced from vintage design retailer Fenix Originals and includes 1960s armchairs by Catalan designer Joaquim Belsa.
Simple metal shelves provide additional storage
Plantea Estudio, which was founded by brothers Luis and Lorenzo Gil in 2008, has completed a number of interior projects in the Spanish capital.
Among them is the neutral-toned Hermosilla restaurant, as well as a bar serving wine and small plates, where a cosy red “cave” room is hidden behind the main dining space.
Architecture studio Snøhetta has completed a shop for fashion and lifestyle brand Holzweiler in Chengdu, China, informed by its Norwegian heritage.
Located in Taikoo Li mall in central Chengdu, the 130-square-metre store is Norwegian brand Holzweiler‘s first outpost outside of Scandinavia.
The exterior of the store is covered with LED screen
“The store features recurring themes of currents, reflections and contrasts inspired by landscapes and coastal movements, a bespoke concept of the forces of norwegian nature playing on our shared heritage,” Snøhetta explained.
“With the aim of transporting Holzweiler’s love and deep respect for its origins, there is an immediate and consistent reference to the natural world that harks to the brand’s home country.”
The interiors nod to the Norwegian coastal lines
The exterior of the store features a full-size LED screen, which will be used to display campaigns that showcase that brand’s connection to nature.
A glass wall framed with wavy lines divides the LED screen into two parts, revealing the store’s warm clay-toned interiors to visitors.
The reflective surface of the ceiling resembles sky and ocean
The entrance of the store was crafted from floor-to-ceiling sand-blasted stone that extend to the product display area where mechanical arms present Holzweiler’s signature silk, lambswool and cashmere scarf designs.
Wavy lines were widely adopted inside the store, as a nod to to the shorelines along Norway’s extensive coastline. A series of hanging lights were suspended from the reflective surface of the ceiling, which was clad in steel with a sandblasted finish.
The clothing racks made with the same steal material run along the curved wall, while the forms of the display tables placed in the centre of the space were designed to evoke coastal rock formations.
Natural materials were used throughout the store, sourced locally from China. Meanwhile, all fixtures within the store were designed to be flexibly dissembled and repurposed in the future.
A hero wall with mechanical arms is used to present Holzweiler’s signature products
The point of sale area is tucked away at the back of the store separated from the main shopping area to provide privacy for customers.
Snøhetta is a long-term collaborator of Holzweiler’s, having designed the company’s flagship store and showroom in Oslo, as well as its first international outpost in Copenhagen.
The Studio has recently completed a planetarium in France, featuring two domes surrounded by sweeping wooden walls and a shingle-clad viewing tower in Austria.
Klein Dytham Architecture has aimed to counter rock music snobbery with its design for guitar brand Fender’s Tokyo flagship store, which is meant to feel welcoming to people who might feel judged in other guitar stores.
The Fender store sits across the bottom four floors of the glass-walled Ice Cubes building, a 12,000-square-metre space in the neighbourhood of Harajuku that was formerly home to an H&M store.
It is the world’s first flagship store for the 77-year-old American brand, which is one of the most recognisable names in guitars and is particularly known for electric models like the Stratocaster.
The Fender flagship store is located in Harajuku, Tokyo
For the project, Fender asked Klein Dytham Architecture to create a space that would counter the perception of guitar stores as being intimidating, particularly for women and newer players.
It hoped the store would offer a sophisticated and immersive retail experience that would encourage leisurely browsing and communicate the brand’s heritage.
Klein Dytham Architecture answered the brief with a store design it sees as creating “a destination of discovery”, with gallery exhibits, an event space, a cafe and a “care bar” for repairs.
The main browsing area on the first floor features display stands made of curved wood
The first floor houses the main browsing area, which features undulating wood benches and display units that are meant to echo the curves and materials of a Fender guitar. These contours are further mimicked in the lighting above.
The area also has custom plectrum-shaped tables where staff can place guitars they have removed from the display to show customers. Clothing racks holding the F is for Fender streetwear collection sit among the guitars.
The second floor, which was realised in a soft grey palette, is primarily an exhibition space called the Artists Gallery.
The second floor is the main gallery space
Here, large-scale photos and video shows famous musicians in action, each one alongside a transparent display case housing their Fender of choice.
There are also displays dedicated to Japanese- and American-designed Fenders respectively, and a sound-proofed Amp Room where customers can test run guitars and amps.
On the darker and moodier third floor, another exhibition space — the Master Builders Gallery — focuses on the work of specific craftspeople, while two VIP rooms and a custom shop are furnished with comfortable couches and provide a setting for discussing bespoke builds.
Also on this floor is a colourful display of 400 guitar finish samples that fills the length of one wall.
The third floor includes the Fender custom shop
The final floor is the basement, which houses an event space, cafe and the Fender care bar, and where Klein Dytham Architecture endeavoured to create a cosier feel with a plectrum-shaped rug and benches.
Tying the floors together is a spiral staircase with a hall-of-fame-style photo gallery on the interior, as well as a three-storey-high vertical LED display on the glass facade outside that will be used for Fender-related content.
The basement includes an event space and a care bar
“Conceived as a hub and clubhouse for all things Fender, this project takes the notion of a flagship store and experiential retail to beyond the next level,” Klein Dytham Architecture co-founder Mark Dytham told Dezeen.
Dytham started the practice with fellow Royal College of Art graduate Astrid Klein in Tokyo in 1991. Some of their recent work includes the PokoPoko clubhouse for the Risonare Nasu hotel in rural Japan and a Cartier store with an intricate wooden facade in Osaka.
Forest sounds and furnishings made from storm-stricken trees bring elements of nature into this menswear boutique in London’s King’s Cross, designed by local practice Fred Rigby Studio.
The store is the fourth outpost from men’s fashion brand Lestrange and was conceived based on blueprints by biophilic design expert Oliver Heath, combining greenery with reclaimed and natural materials to forge a greater connection to the outdoors.
Fred Rigby Studio has designed the latest Lestrange boutique in London
According to Fred Rigby Studio, this approach was chosen to reflect the brand’s philosophy of using renewable and recycled fibres to produce clothing with longevity.
“We wanted to create a sense of calm within the space, which didn’t feel like a generic shop but an interior which told a story behind the clothing and the brand’s ethos,” explained the studio’s eponymous founder.
Rice paper lanterns are suspended at varying heights throughout the space
The Lestrange store is set inside the Thomas Heatherwick-designed Coal Drops Yard shopping centre, formed of two converted warehouses that were originally built in the Victorian era to store the vast quantities of coal needed by the capital.
Rigby wanted to incorporate this imposing brick structure into his final design.
Tactile plaster was used to cover the walls
“We didn’t want to hide this history by covering it up, which would have also entailed using construction materials,” he told Dezeen.
“So we celebrated it, breaking the space up using timber walls and cladding, then adding the rice paper lights to give the space a more intimate feel.”
The same finish was also applied to a trio of display shelves
Using the existing site as his canvas, Rigby focused on sourcing a tight edit of natural and reclaimed materials.
“There are lots of new materials on the market, but finding those that are produced in quantity and applicable to commercial use can be a challenge,” he said.
London plane timber – harvested from “storm-stricken and diseased trees” within a few miles of King’s Cross – was used to form the partitions that define the store’s display and changing areas, as well as some bespoke furniture pieces.
British manufacturer Clayworks blended unfired clays with minerals and natural pigments to create the tactile wall finishes, while the terrazzo-style countertops were made by Welsh company Smile Plastics using a mix of recycled plastics from discarded mobile phone casings and chopping boards.
The changing rooms are clad in panels of London plane timber
As the ultimate counterpoint to the mass and severity of the brick, Rigby conceived the idea of an indoor meadow that meanders through the Lestrange store.
The arrangement of natural dried flowers and grasses was realised by award-winning garden designer Lottie Delamain, integrating a carefully chosen mix of species to reflect the fibres commonly used in apparel manufacture such as cotton and flax.
“We wanted to bring nature inside, using plants linked to the clothes while creating a touch point to the materiality,” said Rigby.
Garden designer Lottie Delamain created a dried flower meadow for the store
Clothes are displayed on simple white metal rails and the capacious open-topped dressing rooms feature speakers playing forest sounds, complemented by discreet wall lights that cast a subtle glow.
There are also subtle nods to Japanese design in the form of the rice paper lampshades that float at varying heights throughout the store.
The flowers are set in wood-framed stone beds
“We started with a mixture of initial references, one of which was a teahouse designed by Charlotte Perriand,” said Rigby.
“We wanted to create a material-focused space with nods to natural materials such as the rice paper lights, which we felt would add to the space and create a sense of calm and stillness.”
The Lestrange shop is set inside the Coal Drops Yard shopping centre
Previous projects from Rigby, who founded his studio in 2008, include bespoke furnishings for a renovated 1920s office building in London as well as the interiors of Bath’s Francis Gallery, which is set inside a Georgian townhouse.
