The Georgian at Harrods

It’s fair to say that London isn"t short of famous landmarks, but with its Baroque-style façade, distinctive green awnings and abundance of twinkling lights, luxury department store Harrods sits high on the list of iconic buildings. The Brompton Road premises, which opened its doors in 1905, was designed by C. W. Stephens, a British architect who was also responsible for Claridge's, Harvey Nichols and the Park Lane Hotel. Now Grade II listed, with over one million square feet of selling space across a 5-acre site it also boasts more than 330 departments, making it the largest store of its kind in Europe – and undoubtedly one of the most famous shopping destinations in the world.

As part of the ongoing rejuvenation of the site, globally renowned interior design practice David Collins Studio has spent recent years transforming key areas across the menswear and womenswear departments, as well as in the food and dining halls too. Their most recent project, however, focuses on a brand new interior for The Georgian, an opulent tearoom and restaurant located on the bustling 4th floor.

"With all of the Harrods projects, the starting point is always the building itself – its location, its history and how it has been used," says Simon Rawlings, chief creative officer at David Collins Studio. "Harrods have their own archive department where everything is incredibly well collated, and they're able to provide us with all the information we need, including photographs, timelines and details of key pieces, so we can really tap into the history of the space and discover its DNA.”

The original tearoom, first opened in 1911 and updated in 1928, was completely exposed to the rest of the floor, so part of the brief was to create a more personal and exclusive space that would work for a relaxed afternoon tea through to a glamorous evening dinner. "One of the biggest challenges was how to create an intimate environment while still allowing visibility in, and indeed, out," explains Rawlings. The solution was to enclose the restaurant with a 'gallery' – a circulatory corridor around the perimeter, punctuated with a series of Art Deco-inspired, textured glass windows through which passersby can steal a glimpse of the happenings inside.

Accessed through heavy velvet curtains, the restaurant itself, which seats 140, takes inspiration from the building's original Art Deco features, in particular a coffered ceiling frieze, which alongside an ornate lay light and ornamental wrought ironwork was restored and integrated harmoniously into the new scheme. The layout was of course also key, and another crucial requirement of the design was that it should generate a sense of theatre within the space. "There was an idea of the food being the star of the show, so we created an opening through which the servers arrive, almost as performance," continues Rawlings. "At the same spot we positioned a beautifully designed sommelier counter, which ensures there's always movement, and therefore a touch of intrigue."

Similarly, the oak veneer starburst floor – a reproduction of an original shown in Harrods' archival imagery – is edged with a radial marble walkway that allows both diners and wait staff with Art Deco-style trollies to move effortlessly around the space, while the room itself is framed by walnut veneer, button-back banquettes upholstered in rich purple velvet. "All of the seating looks inwards, so effectively, there isn't a bad spot in the house," notes Rawlings. Walls are hung with amethyst drapery topped with double-layered, scalloped pelmets, and this sophisticated, jewel-toned palette extends to the smart leather dining chairs as well as the plush, deep pile carpet.

The performance continues more literally at the centre of the floor, where a gloss white grand piano – which would also have been part of the original design – anchors the dining space. Above it hangs a pair of glittering, chandeliers, custom-made to replicate the remarkable originals, while smaller versions, both restored and bespoke, are suspended around the edges of the room, creating a twinkling canopy of crystal.

At the far corners of the room, a pair of private dining booths are lined with two-toned gold and silver fabric, the surface colour of which shifts in the light. Finally, through yet another discreet opening lies an intimate cocktail bar, the structure itself crafted from bevelled, backlit glass and polished brass with a Calacatta Viola marble top traced with delicate mauve veining. Custom bar stools are covered in purple leather, while two elevated, 10-person private dining areas are positioned on either side.

"Our vision from the outset was to create a venue like no other – one which revolved around performance and music and spectacle," concludes Rawlings. "The aim was always to celebrate the majesty of this historic building, while at the same time taking it forward into the future. The theatre, the glamour, the whimsy and the wonder – it was all about bringing the magic back."