Scottish fashion designer Christopher Kane’s first store once housed a day spa— arranged as a series of small, enclosed rooms along narrow corridors. Light entered tentatively then, reaching only partway before being swallowed by the tight layout.
When I visisted the building a year later to photograph the completed store, the change was absolute. The interior had been cleared, the space allowed to extend fully from corner to corner. Light travelled further now, held in place by pale surfaces and high ceilings.
A sculptural light piece, suspended across both floors, formed the new centre. The staircase curled around it—not ornamental, but deliberate—defining the vertical axis of the store without interrupting its calm.