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The white fibreglass curve which connects the floor, wall and ceiling in a single element is imported direct from the photographers studio.
As a cyclorama it removes the shadowline, and creates a backdrop for the clothes.
At the same time it implies the excitement of thefashion shoot and implies the stamp of desire tothe collections.
The planning approach in the stores is direct. The elements and the roles they play are intended to be perceived immediately. They are designed to relate to the product on sale, and the locations where the clothes will be worn.
The Studio space on the other hand is grand. It is big and the mere possession of such space, on the top floor of a Surrey Hills warehouse , is lush in itself.
As one approaches the the glowing portal from the dingey lift, the black BRAVE logo on the translucent glass door seems bold. Once inside the image is obliterated by the space, the light and the enormous BRAVE letters which stand clear of a freestanding wall, cutting the space on the diagonal.
A combined catwalk and communal desk, covered in black rubber, slices through the white partition , balancing on tiptoes on either side.
A square of dropped ceiling focusses attention back on the centre area. Toard the outer a wallof mirrors conceals a storeroom, reflecting the scene and the softer ex-industrial bones .
The other notable element of the design is the circular strip of white neon and surrounding clear plastic curtain hanging down to the floor. This looks like a giant shower cubicle but in reality is a meeting room aka "cone of silence" area.
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