Bronze Interior Space and Exhibition Design · 2026
Rubin and Chapelle Boutique Fashion Retail Interior
- A' Design Award 2026 Bronze Winner in Interior Space and Exhibition Design
- Awarded April 15, 2026
- CLIENT: Rubin and Chapelle
- Estimated Number of Design Views: 6,514
- Verification code 09DB20FE3C · Verify this award
About Rubin and Chapelle Boutique Fashion Retail Interior
Rubin and Chapelle Boutique is a fashion retail interior located in Newport Beach, California. The store covers 95 square meters and draws inspiration from an old fabric warehouse workshop in New York City. Dark textured materials are combined with partial-height walls of smoked glass and steel. The partitions stop below the ceiling, so the open ceiling and exposed ductwork remain visible and the compact space feels larger. Triangular and rectangular zones hold the fitting and evening wear areas. Deeper shelving divides the clothing into small groups to slow the shopping pace.
Jeff Goldberger's Rubin and Chapelle Boutique Fashion Retail Interior exemplifies contemporary luxury retail's evolution toward gallery-like spatial experiences where architectural restraint and curatorial precision transform commerce into aesthetic contemplation, positioning itself within the broader trajectory of high-end fashion retail environments that increasingly borrow exhibition design strategies from museum and contemporary art contexts. The design demonstrates sophisticated command of spatial composition through its deployment of a dominant dark architectonic framework that functions simultaneously as storage infrastructure and dramatic backdrop, the deep charcoal shelving system creating a series of recessed niches that frame merchandise as precious objects worthy of focused attention rather than presenting goods in overwhelming profusion. Chromatic strategy reveals particular accomplishment in the deployment of an accented neutral palette where achromatic dominance establishes visual calm and allows a single saturated coral-red intervention to command immediate attention, this color punctuation operating through complementary contrast principles to create maximum visual impact while maintaining overall compositional restraint. Material selections demonstrate discerning attention to textural variety within a limited palette, juxtaposing the ultra-matte light-absorbing quality of dark surfaces against the subtle sheen of leather accessories and the organic draping qualities of suspended garments, while pale concrete-effect walls introduce tactile warmth through mottled aging effects that soften the geometric severity of the shelving architecture. The spatial experience suggests influences from minimalist art installation practices and Japanese retail aesthetics that privilege spaciousness and contemplative engagement over commercial density, creating an environment where the act of viewing merchandise becomes ritualized and deliberate. Lighting design employs concealed ambient sources that reveal form through gentle gradation rather than dramatic spotlighting, contributing to the gallery-like atmosphere and ensuring that architectural elements recede into supporting roles while merchandise claims visual primacy. The incorporation of white sculptural mannequin forms with faceless geometric abstraction reinforces the presentation strategy that positions clothing as sculptural objects deserving aesthetic consideration beyond functional utility, a gesture that elevates the commercial transaction into cultural participation. The design invites consideration of how contemporary luxury retail increasingly positions itself at the intersection of commerce and culture, where spatial refinement and curatorial selectivity communicate brand values of discernment, exclusivity, and aesthetic sophistication to clientele seeking not merely products but participation in carefully constructed lifestyle narratives.
Press Kit
- Unique Properties
- Unlike any store in the Southern California outdoor mall, we incorporated textured deep and dark materials into the space. The use of partial-height smoked glass supported by steel is unusual for this earthquake zone, allowing for an open ceiling with exposed ductwork and views across the compact area, making it feel larger. The lighting contrasts rugged textures with the sophisticated elegance of Rubin and Chapelle’s fashion. Through the grey glass, customers glimpse intimate, exclusive spaces for evening wear and fittings, adding a touch of refined exclusivity.
- Dimensions & Packaging
- Store area 95 sqm. Main ceiling height: 5030mm. Storefront height, top of shelves and ceiling height at entry: 3650mm. Top of glass partitions and entry door: 2750mm.
- Tags
- Retail, fashion, luxury, rustic
- Production Technology
- The design incorporates partial-height walls of smoked glass and steel as a counterbalance to the rustic materials. It is particularly notable in this earthquake-prone area to have walls that do not rise to the ceiling for anchorage. This choice allows for an open ceiling with exposed ductwork, enhancing the feeling of spaciousness and providing views across and through the compact space.
- Design Challenge
- Determining how to get the desired flow and visual lucidity while faced with the earthquake zone structural restrictions proved challenging. We made it even more daunting when choosing to hang all the shelving on the walls with minimal connections to the floor. Careful coordination with the structural engineer had to be done to achieve the look we were after.
- Project Duration
- The project started with a meeting with the owners of Rubin and Chapelle in February of 2024. We started working with them on the design shortly after, completing it in May that year. Construction started in January 2025 and was completed in May 2025. (It took a long time because of the Corona disaster.) The store, located in Fashion Island, Newport Beach, California, opened in May 2025.
- Operation Flow
- The wedge-shaped space has side walls oriented toward the entry, making them too prominent. To enhance discovery, we added smoked glass partitions that delineate interconnected triangular and rectangular zones. These openings subtly reveal the spaces beyond, enticing visitors to explore further. The rectangular arrangement of fitting and evening wear areas creates a runway-like experience, encouraging dynamic interaction with the space. Deeper shelving segments clothing into smaller, curated groups, effectively slowing the shopping pace and promoting thoughtful exploration.
- Research
- To ensure the boutique reflects the brand, we visited their other stores and workshop and interviewed the owners. We also spoke with the mall operators about their plans to upscale with luxury brands. Based on this information, we limited elements in the dressing room, added multiple mirrors in the fitting area, and provided transparency for customers to bring friends. Layered curtains were installed in the changing rooms to allow items to be passed through without opening them, and hanging rods were elevated to accommodate long draping dresswear.
- Inspiration
- Drawing inspiration from the RC workshop, an old fabric warehouse in New York City, the design intends to encourage exploration of a mysterious, rustic space. The aim is to encourage customers to explore the space more thoughtfully, moving away from traditional retail layouts that often limit interaction and engagement.
- Image Credits
- Rubin and Chapelle
Colors of Rubin and Chapelle Boutique Fashion Retail Interior
Grand Interview about Rubin and Chapelle Boutique Fashion Retail Interior
In all of our work we endeavor to engage people rather than make everything into a display. People face their screens, posters and billboards all the time, so a store should do more. The warehouse space in New York is tall and dark, with lighting only where it is needed. The atmosphere lends itself to memories of sneaking into forbidden and forgotten places, an attic, a disused factory and the like. We loved how the child-like excitement we experienced in this space coalesced with our approach of engagement.In the case of Rubin and Chapelle’s boutique the clients specifically wanted the fitting area to be open and distinct from the changing room. The more luxurious evening wear also needed to be distinguished from the main clothing displays. We used those distinctions to divide up the space while using black glass and porosity to connect them and generate mystery.When the construction was underway and the lights started going in, the clients simply raved. They had concerns over the impact of the lights on the atmosphere but they stayed the course and felt rewarded they had done so.
In all retail there is a desire to entice the customer into the store. There has to be some hint of something exciting or curious without exposing the entire experience via the windows. Once inside the experience changes, a customer is now enveloped in the atmosphere of the store. At Newport Beach, the Rubin & Chapelle boutique stands apart from the other stores which generally compliment the bright sun and beach atmosphere. This store is sexy and instead invites you to a place of luxurious silk and leather within refined Bohemian textures.In the larger scheme, for such a small space, several things can engage and surprise people. These include a mixture of surfaces from heavily textured to reflective, as well as materials that are just a tiny bit off from the expected, such as a familiar wood but with a black finish. Spatially the layout gives hints of where one may go without instruction. Even clothes on full display can be slightly concealed due to the depth of the shelving. They are not fully hidden, so the customer knows to explore in order to see more. This is where the detailing conflicts with the openness of the main space, and black glass dividing the space are so effective. The larger triangular space is open and welcoming, yet the fitting room is not fully separated into another part of the store. It is partially open and visible behind the glass thereby inviting friends to be a part of the shopping experience. Sonja and Kip have recounted for us that the store has had the desired effect, with great foot traffic and sales. Fashion Island’s in house marketing team has been very excited by the store, promoting it in their outreach and in local newspapers.
First, I’d like to thank Sean and his team for the excellent collaboration for a successful project. Sean and I worked diligently to determine what structure would be visible and what would not. Aligning the design of the supporting steel for the free-standing glass walls in the space was crucial to their impact. We were able to locate the structure to one side of the glass so that it reads as a flat surface on one side and has depth on the other. We were also able to use the horizontal steel as a hanging rod, incorporating lighting into it as well. So what we obtained was additional display space, accessible on one side while the clothing remains slightly veiled by the glass on the opposite side.
We sought to engage and surprise people. One way was to include polar opposite materials, both heavily textured and reflective. However, they have a common tone. Additionally, the materials are all familiar yet have been treated in ways to make them unfamiliar. For example, the glass and oak are both black and the cement floors and walls—which operate as a neutral background—is velvety. Then outlining the space, small globe pendants hang, setting an upper datum and glitter. The mannequins and beautiful clothing do the rest to enliven the space.
We initially studied having items on pedestals and clothing on rails, but that failed to deliver on the emphasis on exploration. Hanging the large shelving displays were a result of reversing the initial approach entirely. A shelf or two would not raise any concerns, but to hang these large assemblages did. We had to coordinate carefully all the brackets so they would not be visible, and not interrupt the lighting. It required more thought and coordination of details than one might expect and again, I give kudos to the team for understanding the impact of good design.
This is one of the most enjoyable parts of our jobs as architects. We get to learn from our clients. In the process, we also get to know them as well. We joined Sonja and Kip at their workshop and discussed their stores. Much of the way they wish to present their goods is self-evident. In their stores, the lines and surfaces are clean and bright. However, in their workshop the offices have a similar aesthetic but the rest of the space is a raw remnant of an old factory/warehouse. The contrast was striking and impactful. It reminded us of the early days of PS1, the museum in Queens, which showcased art all over the old school building, even in the boiler room. Kip and Sonja knew this instinctively too as they talked of concrete and glass. We pushed the darker aesthetic, limiting the white surfaces to the changing room and then added further emphasis with lighting.
It comes down to the story the retailer wants to tell. At Rubin and Chapelle, their love of New York City comes across in their luxurious day and evening wear, origin in the transitioning Meat Packing District, and as exhibitor of art collections. This is the story we needed to represent in the architecture and that is true for all of our clients.
A customer’s experience in the store reveals the best of what one is purchasing. Architecture can help tell the story of the creators and the products. These are not born in a vacuum. The designers have a vision, their products are means to express themselves that others can enjoy. Architecture creates the environment to tell that story.
We spent a good deal of time locating the changing room within the wedge-like space. In order to emphasize movement and discovery we looked at not only pushing to the corners, but also whether the middle of the space reinforced this idea. It was not until we added the extra dividing glass partitions did it all come together. We experimented with the walls at first to create a space for the fitting area, and then added the second one which defined the space for the high end evening wear. When we positioned them so that the main triangular space aligned centrally with the entry door it made it clear we had the perfect layout. This space became welcoming yet the black glass hint at something more to explore while the clothes along the long wall can be seen, the deep shelving engenders a desire to approach them for a closer look.
The lighting is designed to serve three purposes, first and foremost to highlight the products, the clothing and the bags and also the artwork on the shelves. The second is for general lighting so the space is not mistaken for a nightclub. We used tracks with minimal heads which are all black and disappear in the open ceiling. The last is for embellishment which elevates the design. These are the ones that give emotion to the space. While all the hanging rods have LED’s lighting the clothing from above, the evening wear has a larger area of display with a backlit wall. The main shelving unit with the day wear has small spot lights in each bay that create scalloped highlights behind the clothing. The upper shelves have LED strips aiming upwards so the lenses are not visible while also providing a new way of appreciating the products.Finally, small globe pendants that are used in all the Rubin and Chapelle stores give some glitter and reinforce the rustic aesthetic.