Inside Story  ·  Milestone

INTERIOR DESIGN IS CRUCIAL TO FASHION, SAYS CROSBY STUDIOS FOUNDER HARRY NURIEV

November 28, 2023
by Vésma Kontere McQuillan
Crosby Studios founder Harry Nuriev is an advocate for the fusion of fashion and interior design. Just named part of Business of Fashion’s 500-strong index of people shaping the fashion industry, Nuriev shares why the interplay between sectors is critical for growth in both, and his vision for a future in which we no longer produce, but constantly reinvent with what we already have.
An architect, designer, artist and self-proclaimed ‘transformist’ renowned for his distinct interior and furniture designs, Harry Nuriev established Crosby Studios in Moscow in 2014 and, shortly after, relocated to New York. He achieved international acclaim and gained attention as an Instagram-friendly designer, particularly for his minimalistic aesthetic, marked by monochromatic palettes and bold, dynamic colours. He combines contemporary design with traditional elements, often introducing playful and unexpected details, like translating the digital realm into physical spaces. But his designs also often touch on themes of sustainability and environmental consciousness. He represents the forefront of contemporary interior architecture, with a belief in creating spaces that are not just aesthetic but also meaningful, evidenced by a collaboration he worked on with H&M for the latest edition of Paris Fashion Week. We speak with him about the union he has found between fashion and interior design, and his driving philosophy of ‘transformism’, which supports a process of reimagination and reinvention over new production. 
Harry Nuriev and Jimmy Choo creative director Sandra Choi, pictured in a temporary sales space Crosby Studios envisioned for the luxury accessories brand to mark Paris Fashion Week.

YOUR PLACEMENT ON THE BOF 500 LIST IS AN EXTRAORDINARY ACHIEVEMENT, ESPECIALLY SINCE YOU DON’T COME A FASHION BACKGROUND. HOW CAN SPATIAL DESIGNERS LIKE YOURSELF INFLUENCE FASHION?

HARRY NURIEV: My relationship with fashion has always been very personal. Even in university, I was thinking that I should try to work in fashion. But by the end of university, I figured out that I really liked interior design. Fashion still was – and always has been – in my life. When my practice started, I realized many professionals in my field draw inspiration for interior design and architecture from everywhere, but not from fashion. Yet fashion drives our lives every day. It’s the only way for us today to express ourselves quickly, to communicate quickly. Maybe ‘quickly’ isn’t the right word: let’s say it’s an exciting way.

ISN’T THIS THE ONLY GENUINE WAY? THE WAY SOMEONE DRESSES OFFERS INSIGHTS INTO THEIR PERSONALITY. THERE ARE PEOPLE WHO AREN’T INTERESTED IN FASHION, AND THAT TOO REVEALS SOMETHING ABOUT THEM.

Yes. Because anti-fashion is also a statement. During the day, whatever you are wearing, that says something. I was thinking that space should be a part of it; it should be a continuation of your style. We have maybe 20, 30, or 50 different styles of wearing clothes. But we used to have only a few ways of living. Both environments – fashion and interior – are expressions of who you are as a personality. So, I started my research on fashion, not because I use fashion as a tool, but because I was always, and still am, in love with fashion. It was very natural for me to mix interior design and fashion. But in order to do that, I had to work closely with brands. The worlds of interior design and fashion weren’t close enough back in the day. I started to research where I could begin. I did my first collaboration with Opening Ceremony back in 2017. They had different brands, and they asked me to design furniture inspired by fashion.
Then Nike approached me. They initially hesitated when I suggested furniture, reminding me they were a sportswear brand, not a furniture brand. But I encouraged them to reconsider, to venture beyond their domain and envision the fusion of fashion and interior design. This collaboration paved the way for partnerships with Balenciaga and other brands. Today, I can’t see myself not collaborating with fashion brands. When I work with them, it’s not just about the brand; it’s about the people behind it, their innovative ideas and vision for the brand, and how I can bring that to life. Eventually, the brand’s name becomes secondary.

SO, YOU’RE SAYING IT WAS A CONSCIOUS CHOICE YOU MADE.

Yes, it was a choice, because it was the only way I could stay motivated and genuinely engaged in interior design. Otherwise, it becomes mundane, like just matching pillows with wallpaper. But I never had the intention of becoming a fashion designer. I often get asked, ‘Do you want to launch a fashion collection?’ I do fashion, but in the realm of interior design. It’s about dressing space, not people. My focus has always been on merging fashion and space, not necessarily because I enjoy dressing up, but because I like to dress spaces.
When I first entered the industry, I used ‘rejection’ as a starting tool. I’d enter a space and strip it down. Establishing such a distinct design language wasn’t easy; I had to construct an entire lexicon before formulating a coherent style and finding people who appreciated it. There’s always the need for a client, especially when you have a team counting on you and looking up to you for direction.
Cover and above: Crosby Studios’ immersive pop-up for H&M at Paris Fashion Week in September 2023 saw ten years of collections showcased, with visitors able to access its Studio archives.
Photos: Benoit Florençon

WHAT MADE H&M AN INTERESTING PARTNER FOR YOU? 

I’ve always liked H&M. They have their radar on artistic intelligence. Likewise, we have our radar set on potential collaborators and partners. Despite its vast corporate structure, there are very creative individuals behind H&M. The collaboration felt organic. They approached us, and as we began our conversations, I knew exactly what I wanted to do. The idea revolved around Paris and a space featuring this futuristic object, a capsule – a room painted red that could travel around the world. Architecturally, the inspiration originated from the contrast between the brand’s democratic roots and its setting in Paris in time of Fashion Week. I was also involved in choosing the location since they wanted me to be a part of the entire creative process. It was vital for me to find a space with elements of Parisian architecture, like skylights, yet infused with a futuristic vibe – not necessarily reflective of today’s Paris, but perhaps its future. I visualized a room, almost like a spaceship that transports you elsewhere. 
My aim was to present the collection in a straightforward way without being overly conceptual by printing the silhouettes on glass and assembling the collection entirely – so, hypothetically, a viewer could grasp the entire collection in about five seconds. I appreciate clarity in design. Even if it appears highly conceptual, the result should offer a straightforward image for practical use. 
They also asked me to work on their archive, which I found fascinating. I love archives, and especially museums, where items are respectfully placed, permanent and organized. I designed this section with drawers reminiscent of those in kitchens. Ultimately, we began considering an innovative retail concept where a drawer signifies your personal order. You place an order, come in, and open the drawer. Additionally, I included a coffee space. I believe in adding multifunctionality wherever possible.

WHAT IS YOUR TAKE ON THE ‘EXPERIENCE ECONOMY’ OF FASHION SPACES?

There are various types of experiences: the visual, the emotional, and the functional. In the context of retail, I believe the experience should be about more than just purchasing or trying on items. On one hand, there’s the functional aspect: you buy clothes because you need something to wear – no one wants to go out naked. On the other hand, if you use fashion as an expression of self, it’s crucial to understand both your message and the brand’s. And when you disengage garments out of architecture, you are missing the most significant part of the conversation. It’s like choosing between watching a movie or merely listening to its audio. While you can certainly imagine a lot, you lose out on experiencing the entire world it presents.
I want to truly understand the designer or founder of the brand. I’m interested in every single detail, from the type of toilet paper in the bathroom to the design of the coffee cup in their cafe or restaurant. I want to see the entire picture, and only then will I decide on my purchase. Without this complete experience, my decision remains incomplete.
The vault-like space that Crosby Studios developed for Jimmy Choo on Paris’ Avenue Montaigne is aimed at changing the narrative of a shopping experience for customers.

CAN FASHION SHOWS INSPIRE A DIFFERENT TAKE ON RETAIL EXPERIENCES?

When it comes to fashion shows, the clothing isn’t merely presented in a generic white box. Even if they are showcased within a white space, the design and proportions of that box are crucial. Lighting plays a significant role too. It greatly influences our perception and helps us decide if we like a dress or not. Simply viewing photos on a website isn’t enough. You really need to envision whether you want to include that piece in your wardrobe, and that’s where interior design becomes essential. 
Interior design has become even more crucial today, especially since every trench from every brand seems identical. What sets them apart is the unique space that houses these trenches, right down to specific streets and even various locations on the same street. Some might be prominently displayed in the first row, while others are tucked away, a bit hidden. I might sound like I’m amplifying the importance of my own industry, but that’s genuinely how I see it. I choose fashion because of its spatial representation. 

IT’S CLEAR THAT THE FASHION INDUSTRY IS INCREASINGLY RECOGNIZING THE PROFOUND INTERPLAY BETWEEN SPATIAL DESIGN AND FASHION. HOW IS YOUR THINKING EVOLVING?

Last year, I created the term ‘transformism’. It’s a philosophical framework that takes existing objects, materials and forms and imbues them with new aesthetic and material qualities, allowing them to transcend their usual frames of perception. So, I now identify as a transformist and invite others who resonate with this philosophy to do the same. Looking ahead, I envision a radical utopia where no new materials are produced. Instead, we’ll all be tasked with reimagining and reevaluating the existing. This concept fascinates me, and it’s what keeps me engaged and entertained in an industry that can sometimes feel rigid.
Based on my partners and clients, I can say that interior design is currently among the top priorities for fashion brands. People are paying a lot of attention to this because they recognize the power of this synergy. Fashion is becoming more generic, and interior design provides the only avenue for differentiation.
Amina Muaddi has opened a new space in London department store Harrods. Designed by Crosby Studios, it offers an escape from the real world.
Photo: Michael Sinclair

YOU’VE MENTIONED ‘REJECTION’ REPEATEDLY. HAVE YOU PERSONALLY EXPERIENCED IT?

Like any innovator, the beginning started with rejection – or at least resistance. People don’t necessarily want changes every day. We feel comfortable with what we have. And when someone opens the door and says, ‘Listen, we have to change everything,’ the first thing you often hear is ‘no’. It’s a full-time job to convince people that the old ways don’t work anymore: this colour doesn’t work, this shape doesn’t work, this geometry doesn’t work. The floor plan needs to change. And there are always those who ask why: ‘We’ve been doing this for years, why change it now?’ You try to explain, and it takes time. But then, eventually, people start coming to you, asking for change. Because deep inside, they’re looking for a change. It’s in human nature. We look out a window, waiting for morning or night; waiting for the weather to change. So, I think interior architecture is a profession for a ‘changer’. 
This article is originally available at www.frameweb.com