Tuesday 5th November, Visualizing the spaces!

At this point we began to design the exhibition spaces and what they would look like, using everything we had researched and explored such as our concepts, precedents, client analysis, and timeline. We knew we wanted to create different rooms to host different collections as Reed describes the design process of each room in his home as “building different outfits" offering individual experiences.

The first room will be spaced around the pillar in the centre of the exhibition, velvet curtains will line the walls, inspired by the ‘cocoon bathtub’ and create a dark space for the 6 piece “For Now, Unexplained” collection from February 2021. Spotlights will light the the outfits surrounding them with coloured light to emulate the ‘changing auras’ that act as an extension of the individual feelings each outfits evokes. My next precedent was the Issey Miyake’s exhibition from the opening of the Tokyo National Art Centre in 2016, where huge rolls of fabric were suspended and unravelled down into the outfits that they then became. This was done with sustainability in mind, aiming to limit the use of the fabric for every outfit, linking back to Harris Reed and his goal to be as sustainable as he can with his work. This concept will exist in my design as streams of coloured fabric that stretch out across the ceiling from the central pillar and down to the outfits. Visitors will look up, mesmerised by a tumble of colours moving through a spectrum of shades as light filters through the folding fabric. Mimicking Reed’s creative process of looking up when creating. In addition, the way the fabric will shape itself is going to be reminiscent of the fluid, oversized, vintage 1950s Italian wall sconces sourced from an old Parisian cinema that Reed loves because of the shape.

Issey Miyaki exhibition, Tokyo National Art Centre, 2016.

Harris Reed's Vintage Wall Lights shown in his Architectural Digest Home Tour, September 2024.

Colour pencil and pen draft serial views of what the room will potentially look like.

For Now: Unexplained, February 2022

The second space was inspired by the Frida Kahlo, 2018 London V&A Exhibition. Designed by architect Gibson Thornley and theatre designer Tom Scutt the exhibiton promises a unique, sensitive and personal insight into Kahlo’s life and work. This was achieved through the use of materiality such as wood and soft, light tones to create domestic like spaces alongside the use of scale and lighting. The ideas of this exhibition already align with the ones of mine however, in terms of design, this precedent has enriched my project, drawing inspiration from one space in particular. A long corridor that draws you to the end with arches lined along the walls, each decreasing in size, framing the end of the room. At first the space appears to be just four walls however, as visitors continue items on display between every arch are revealed; a genius way of guiding guests through a space. The traditional layout of an exhibition is followed while creating an inviting, homelike and comforting atmosphere with scale, colour, soft lighting and materiality.

Frida Kahlo Exhibition, London V&A, 2018.

Planning the layout of the space in The Harris Reed Exhibition.

The walls in Reed's home are hand embroidered from Fromental. We could do the same with the walls in the exhibition.

Colour pencil and pen draft serial views of what the room will potentially look like.

Jenna Ortega, Florence Pugh, Emma Watson, Nicola Coughlan, Adele, Harry Styles and Harris Reed at the 2024 Met Gala

For the third part of the exhibition we wanted to create a big space, to be able to display a large collection. As I was reading the Architectural Digests article on Reed’s home some parts of the home were noted to take inspiration from Claridge’s Hotel in London, such as the beautiful, black and white chequered floors throughout his hallway, kitchen and sun room. Reminiscent of the vintage floors in the hotel that ooze of art deco era. This then reminded me of the 10 piece “Sixty Years a Queen” collection as not only, was the press shoot done on chequered floors, but also because the outfits call upon monarchic details of draped coronation worthy trails. These are delivered in rich jewel tones, worked alongside lace tailoring in retro cuts, evoking a very regal sensation, perfect for the large, grand space I am going to design. Timeless, bold contrasting black and white checkered flooring will backdrop the 'Sixty Years a Queen Collection' without overshadowing the outfits due to its neutral tones. In addition the alternating pattern will create the illusion of depth enlarging the room which I want to be dynamic and expensive. I will capture the linking elements between Claridge’s hotel, Reed’s home and the “Sixty Years a Queen collection.” My next steps will be to create some coloured pencil renders to further visualize these spaces.

Claridge's Hotel Chequered Flooring Foyer in comparison to Reed's Home.

Planning the scale of the space.

Colour pencil and pen draft serial views of what the room will potentially look like.

The 10 piece "Sixty Years a Queen" Collection, February 2022.