Waldo Works’ re-design of Smythson’s flagship is a world of organisation - beautifully engineered and packaged. It is British to the core, and a manifestation of the heritage of both the space and the brand, where it really is all about the details.
The London based architectural design studio played with the dichotomy of a brand whose long and respected heritage is fully immersed in today’s world of luxury, and treated the listed architecture with modern interventions. Its architecture and furnishing combines to reflect the symbiosis of historicism and modernism that underpins the Smythson narrative and identity.
The concept
In collaboration with Smythson’s board of directors, including Creative Consultant Samantha Cameron, Waldo Works looked to the heart of the brand to relay a true sense of its place and origins. The store pays homage to the great London houses lost in the war, and is constructed as a series of private rooms. Seemingly monochromatic, the architectural shell is treated in shades of grey, to frame and emphasise the blocks of colours of the product. With a humorous take on Britishness, this greyscale represents a thick London sky and a nod towards the black houses of Mayfair, which disguised the dirt of pre-war London.
The architecture
The 1962-63 interior by Raymond Erith is preserved and protected. Erith was the architect behind the interiors at Downing Street and was known for his Neo-Georgian interiors. English Heritage was consulted throughout the process of modernising whilst preserving the store.
The design
The store is entered through the grand Gallery, whose architectural envelope, complete with ornate ceiling capitals and traditional materials, gives a sense of permanence and a striking depth of space. The floor’s central panel of grey and white marble herringbone sits within a surround of fumed oak. A clear juxtaposition to the historic shell, Waldo Works inserted crisp and highly engineered lighting and fittings, modern cabinetry based on a minimalist Donald Judd aesthetic, and elegantly but unusually proportioned display tables in brass and Nile blue to represent Smythson’s iconic packaging and gilt edging.
Directly through the centre of the room runs a suspended raft ceiling light made of milk glass and white lacquer, which draws the customer right through to the Library. Creating a sense of drama and vista, the eye focuses on the coloured diary wall, evocative of a stained glass window by the British artist John Piper. To Smythson devotees, this is the high altar of diaries, whose legacy lies at the core of the much-loved brand. The central display tables are adorned with the latest season’s collections and colours. Like any great house, the fireplace remains – here treated with a minimalist modern aesthetic. Above it gleams a large mirror, framed by the gilded pages of Smythson books.
The clean, white panels of the Library are keeping with the listed architecture of Raymond Erith. To one side sit the diaries and organisers, framed by precisely measured bespoke shelving, and holding key position is the gold-stamping desk which is synonymous with the brand.
In six shades of white, the domed Handbag Room is based on Sir John Soane’s breakfast room and provides the showcase and library of handbags. This references Erith’s love and mimicry of Soane, providing continuity as well as a humorous gesture. Here, the highly prized exotic handbags and purses in precious skins are perched upon the 5m high nickel shelving that curves around the walls, detailed with herringbone sycamore grey veneer. The love-seat is upholstered in blue-black velvet to reference Smythson’s famous navy ribbon.
The doors swing open to lead into the Personalisation Studio, home to the stationery. The room’s walls have been papered with actual Nile blue paper, sheet by sheet. Creating a parlour-like setting, the space embodies the personality of Smythson, with Lutyens spiderback chairs and a 1930s ebony frame velvet sofa. For carefully considered choices and concierge service, the bespoke room houses all the historic examples of Smythson stationery. A huge plan chest encourages people to stand and explore the world of stationery in a creative and dynamic experience. The drawers are filled with letterheads and personal cards, neatly tucked into Nile blue boxes. Above hangs a kinetic sculpture by Daniel Chadwick, the British artist known for his mechanical evocation of nature. Each perspex piece is dyed to match the different papers.
The Travel Hall is painted the same pale blue as the Featherweight paper found in Smythson diaries and notebooks. The room displays an array of luggage and travel accessories - from weekend bags to passport covers and travel wallets. Leading through to the Home Collection Room, painted the darkest ink blue, is reminiscent of a murky London sky. With a domestic, study-like feel, it has an antique desk, cabinets that open like wardrobes with grey tones of marble shelves, display desk accessories, cashmere cushions, picture frames and leather-bound candle holders.
Unusual to luxury brands, Smythson customers can touch most products, rather than just view them. The store is impeccably detailed throughout and with the feeling of a great London house offers the true luxury experience. The moody greys evocative of a smoky pre-war London help to encapsulate what it is to be truly British.
