The Art of Creating Atmosphere: Bicci de’ Medici for La Collection

A store is never just a place where collections are presented. It is a space that shapes an experience. For our new store, we collaborated with Bicci de’ Medici, who translated the identity of La Collection into our Maison, creating an environment that feels both timeless and deeply connected to the building's history.

You were one of the first people Florence called when she discovered the space, inviting you to embark on this project together. Having previously collaborated on an exhibition in Antwerp and shaping our Paris store, you've built a close creative relationship over the years, though this has been the most ambitious project yet. When you approach a new project, where do you begin? Especially when working within a building that already has such a strong history and character?

Sander | I don't really have a fixed process for approaching or realizing projects. Every project comes together in its own unique way. Sometimes it starts with a first acquisition, while at other times we work on a series of specific projects for returning clients whose needs go beyond sourcing just a few pieces. What matters most to us is having a genuine connection with the client. Projects often span a long period of time, so if you're not on the same page, collaboration becomes difficult.

For La Collection's project in Antwerp, it was important for Bicci de’ Medici to truly experience and discover the space. Quite literally, because it is a large building with a rich history and many protected heritage features. Sometimes those elements can feel like a limitation, but in this case they became a blessing. It took some time for everything to fall into place. Having enough time for the design process and being able to source the furniture with great care allowed the project to become what it is today.

How did you translate the identity of La Collection into a physical space without competing with the building itself?


Sander | First and foremost, this was possible because our visions align remarkably well. Over time, we've built a sustainable collaboration in which we enthusiastically share what we're working on with one another. Florence would often inspire us by showing fabrics before they had even become part of a collection, or by letting us experience prototypes firsthand. In that way, we gradually moved closer to the very essence of La Collection.

Although both La Collection and Bicci de’ Medici are still relatively young brands, we share a deep fascination with history and heritage. We both draw inspiration from the past and from historical archives. The La Collection building itself is filled with authenticity and history. It took some time to identify the points where the brand and the existing architecture connected, but once we found them, the project evolved quite naturally.

What feeling did you hope visitors would have when they first walk through the doors, and how does that evolve as they move through the space?

Sander | Visitors who have already experienced the store have described La Collection's new flagship as an unconventional retail space. The ground floor and staircase are protected heritage spaces, making them highly distinctive. They still contain numerous references to the former jeweller who once occupied the building. Initially, working with these historical elements felt challenging, but they ultimately became one of the project's greatest strengths.

From the outset, we wanted to create a store that wouldn't immediately feel like a store. Florence regularly immersed us in her world, introducing us to objects that fascinate her—historic silhouettes, artworks, fabrics—and these became an endless source of inspiration. It would have been a missed opportunity if her passion hadn't become visible within the new space.

Sander | For that reason, the ground floor was conceived almost as a small museum, where visitors are immersed in the world of Florence and La Collection, allowing them to experience the brand's inspiration and history before encountering the collection itself. Thanks to the circulation through the building, the reveal of the actual collection is deliberately postponed for as long as possible. The climax takes place in the grand room, where a single large S-shaped clothing rail functions almost like an art installation. The garments are displayed above eye-height, literally and figuratively elevating them.

Are there details throughout the store that visitors may not immediately notice, but that hold particular meaning for you?

Sander | Perhaps everything I just described. The way people experience the store has been carefully orchestrated. Visitors may not consciously realize this as they move through the space, but hopefully it creates a subtle sense of unfamiliarity. If the experience feels just slightly unsettling or unexpected, it is more likely to stay with them.

When we asked Florence what she admires most about your work, she spoke about the way you pair pieces by designers from completely different eras. Somehow, a Nakashima table and a Philippe Starck piece don't feel like a contrast in your spaces. They feel like they belong together. What do you recognise in those objects that allows you to bring them into the same conversation?

Sander | Part of it comes from our genuine interest in design history and the underlying connections between different periods—for example, the way designers in the 1980s often looked back at the design language of the 1930s. That understanding allows us to combine pieces in a thoughtful and intentional way.

At the same time, we're constantly searching for a balance between tension and harmony. We like combinations that create just enough friction while still feeling right. It's about finding a certain vibration between different objects. Sometimes an idea works perfectly in your mind but completely fails in reality. That's where the real challenge lies: experimenting without being afraid of combinations that may initially seem unexpected.

Having access to pieces dating from 1800 all the way to today makes this especially fascinating. We live in a world where new objects are constantly being created, allowing us to make combinations that simply weren't possible yesterday.

Working with Florence has become an ongoing dialogue over several projects. How has that creative relationship evolved, and how did it shape this store?

Sander | Our first project together was a small-scale exhibition in Antwerp, where we subtly restyled the space with furniture and decorative elements. Since then, we've stayed closely connected. Later, we collaborated on L'Appartement in Paris, followed by the scenography for the runway presentation of the Chlōnē collection.

By that time, we had already started working on the new flagship store in Antwerp. Throughout all these collaborations, enjoyment and creative freedom have been central, thanks to the trust between both parties. That mental space and freedom encourage us to continuously come up with fresh ideas.

Both fashion and interiors are about creating a feeling through layers, materials and details. Do you see a connection between La Collection’s creative processes and your own?

Sander | Absolutely. Florence and I share a fascination with history, literature, materials and, of course, craftsmanship. Making a monochromatic aesthetic or interior feel effortless while remaining sophisticated is far more difficult than it appears. It almost always comes down to the smallest details, and that's something we're both becoming increasingly skilled at. 

 

Recently, we've also noticed that we're both becoming more inclined to embrace colour and bolder patterns, whether that's to keep ourselves challenged or simply because our tastes are changing.

After working on a project so closely connected to a specific place and history, we’d love to look more broadly at your own approach to creating spaces. Where does your fascination with interiors and atmosphere come from?

Sander | My parents both have creative backgrounds. After my parents divorced, I suddenly had the opportunity to design my own room in two different homes—the one positive aspect of that period. Not long afterwards, I began visiting thrift stores with my mother, where I became fascinated by the furniture and objects I discovered, using them to furnish my rooms. 

At fifteen, I enrolled in an arts secondary school to study architecture, where I was introduced to figures such as Le Corbusier, Jean Prouvé and many others. My curiosity only continued to grow as I later completed an academic master's degree in Graphic Design and later in Liberal Arts. Shortly afterwards, I returned to the world of interiors by beginning my career as an interior architect. 

Are there materials, objects or architectural elements that you find yourself returning to throughout your work?

Sander | My architecture teacher greatly admired figures such as Le Corbusier, and that fascination clearly left its mark. Le Corbusier's work was radically innovative, breaking completely with the conventions of his time. I also studied architects such as Robert Mallet-Stevens, Pierre Chareau and many other modern masters. Today, we still love incorporating many of their designs into our interiors. 

 

Materials such as travertine, wood and leather remain indispensable to us because of their honest, natural character and because they have been used for centuries. 

What are you most interested in exploring in your work today?

Sander | One thing that fascinates us deeply is studying individual objects in great detail. In the past, we've often discovered that a single design was produced by several different artisan workshops, each applying its own techniques. Through that process, we learn about the proportions of the objects, the authentic materials used, and even how they were cut and assembled. 

 

It allows us to immerse ourselves in the designer's world: their way of thinking, the technical challenges they faced, and the solutions they developed. The knowledge we gain from these investigations becomes invaluable whenever we face questions about historic pieces, contemporary designs or objects of our own creation. 

What makes a space memorable to you?

Sander | A place has to move me and make me pause, and that's not easy. It needs to fascinate us to the point where we want to understand it and explore every detail. We particularly love spaces and architecture that are bold. The Pantheon in Rome is a perfect example. Even today, we’re still captivated by its extraordinary dome. It reminds you that perhaps a roof doesn't always have to be completely closed. *(laughs)*

Images by Tijs Vervecken